26 commissioners, producers and arts leaders from 13 countries will travel to Edinburgh to discover UK theatre and dance with the potential to reach audiences in their countries
26 leading international commissioners, producers and arts leaders will explore UK work at the Edinburgh Fringe and Edinburgh International festival.
The visit forms part of the British Council’s Edinburgh International Performing Arts Delegation.
More than four in five delegates from last year’s programme said they were likely to programme a UK production.
Organised by the British Council, the Edinburgh International Performing Arts Delegation (IPAD) will connect delegates directly with UK artists and performing companies.
Running from 19 to 26 August, the programme will give delegates access to performances across the festivals, alongside curated showcases, industry briefing and networking events.
Journalist Lyn Gardner, who briefed last year’s delegation, said UK companies can be disadvantaged in comparison to international counterparts who have more funding and time to develop their work.
Edinburgh IPAD helps address this imbalance by connecting UK artists and companies with international decision-makers, creating opportunities for new commissions, touring partnerships, re-stagings and other international collaborations.
Previous editions have already helped UK work reach audiences worldwide. Recent outcomes include a Japanese tour for Ramesh Meyyappan’s Love Beyond, performances of Emma Frankland’s No Apologies across the Western Balkans and in Brazil, and a Spanish-language production of Karis Kelly’s Consumed in Venezuela.
This year’s delegation includes representatives from Australia, China, Egypt, India, Ireland, Japan, Kazakhstan, Lebanon, the Philippines, South Korea, Spain, Ukraine and Venezuela.
Among them are three delegates from Ukraine, including Kyrylo Beskorovainyi, co-composer and writer of multi-award-winning musical, The Tiger Hunters.
A full list of the delegates and biographies can be found here.
The programme builds on the success of Edinburgh IPAD 2025, which in just six days saw 24 delegates from 15 countries make 448 new connections with UK artists, companies and industry professionals, and generate 124 expressions of interest in programming 27 UK productions internationally.
More than four in five delegates said they were likely or very likely to programme a UK show following their visit, and more than half also expressed an interest in restaging productions or directing translated versions, creating long-term routes for UK work to reach international audiences without the financial and environmental costs of touring an entire company.
Every delegate surveyed said the programme had strengthened their understanding of contemporary UK performing arts, created new opportunities to connect with UK artists and made them more likely to pursue future collaborations. Delegates’ confidence in working with UK partners increased by 45%, while their understanding of the current UK theatre landscape rose by 53%.
Seung Mee Kim of South Korean performing arts company ARTIGOdescribed the programme as “the most productive time in Edinburgh I’ve ever had”, adding that it had helped her understand the arts scenes across all four UK nations and connect with the right people.
Edinburgh IPAD coincides with the Edinburgh Festival Fringe and Edinburgh International Festival, as well as three curated national showcases: Made in Scotland, Cymru Wales in Edinburgh and Spotlight on Theatre and Dance from Northern Ireland.
Together, these events give delegates direct access to the breadth of contemporary performance being created across the whole of the UK and enable international commissioners to discover, connect with and champion work for audiences around the world.
Neil Webb, British Council Director of Theatre and Dance, said:“The Edinburgh Festival Fringe and Edinburgh International Festival showcase some of the UK’s most exciting new performances.
“Edinburgh IPAD ensures their impact extends beyond August by connecting UK artists with international commissioners, creating lasting opportunities for their work to reach audiences around the world.”
PICTURE: Emma Frankland’s “No Apologies” was performed in Brazil and across the Western Balkans following connections made through previous IPAD programmes. Photo: Matt Crockett
As Edinburgh prepares to welcome visitors from across the globe for the start of the Edinburgh Festival Fringe, Sanne Dijkstra-Downie MSP has welcomed the return of the world’s largest arts festival and highlighted the pride it brings to the capital.
Every August, Edinburgh comes alive. Our streets are filled with music, theatre and comedy while local cafés, pubs and shops welcome thousands of extra customers and people come to experience the city at its very best. The Fringe is not only a major boost for the local economy but a celebration of the creativity, diversity and community spirit that make Edinburgh such a special place.
However, this year the Fringe begins after a difficult few weeks for the city. The fire on Princes Street is continuing to affect our public transport and ongoing discussion around policing in the city centre reminding us that Edinburgh also faces real challenges.
Commenting, Sanne Dijkstra-Downie MSP said: “The Fringe is one of the things that makes Edinburgh unlike anywhere else. There’s a real buzz about the city as performers arrive, venues open their doors and our streets fill with people looking to discover something new.
“It’s been a tough few weeks, though. The fire on Princes Street has been an ongoing issue for businesses and locals alike as transport continues to be disrupted. This is why I pushed the Scottish Government to provide emergency support.
“I’m really pleased we’ve now secured a £5 million recovery fund to help Edinburgh get back on its feet. That support matters, but so does making sure people feel safe when they’re out enjoying the city.
“The ongoing rise in petty crimes and anti-social behaviour have left residents concerned. These concerns need to be taken seriously because the Fringe should be something everyone can enjoy with confidence and in safety.
“The Fringe reminds us why so many people fall in love with Edinburgh.
“Let’s make sure we give visitors a warm welcome while continuing to back the businesses, workers and communities that make this city such a brilliant place to live all year round.”
Dunard Centre welcomed The Duke of Kent as its first royal visitor last week
The visit celebrated Dunard Centre’s artistic partnership with Wigmore Hall
Royal Conservatoire of Scotland musicians offered a glimpse of the venue’s future programme
The visit followed a major milestone in the venue’s construction programme
Dunard Centre welcomes The Duke of Kent for landmark first royal visit
The Dunard Centre, Edinburgh’s first new concert hall in over 100 years, welcomed its first royal visitor, The Duke of Kent, to its St Andrew Square site last week.
The Duke, who is the Patron of Wigmore Hall, enjoyed live music and heard more about the vision for the world-class venue, following the announcement of Wigmore Hall’s new artistic partnership with the Dunard Centre earlier this year.
The visit began with a short performance by two students at the Royal Conservatoire of Scotland, piper and whistle player Hamish Martindale and guitarist Anja Maclennan, giving a glimpse of the venue’s future multi-genre programme.
His Royal Highness also met representatives from some of the Dunard Centre’s key partners, including Edinburgh International Festival, Scottish Chamber Orchestra and the Royal Bank of Scotland, alongside Wigmore Hall Director John Gilhooly.
Dunard Centre welcomes The Duke of Kent for landmark first royal visit
Jo Buckley, Chief Executive of the Dunard Centre, said: “It’s not every day you get the honour of welcoming a royal visitor to site, and it was a particular pleasure to welcome The Duke of Kent to the Dunard Centre, marking the start of our new partnership with London’s Wigmore Hall.
“Together, we took a moment to reflect on our mutual commitment to world-class programming and to the warm welcome afforded to our audiences by the intimacy of our design.
“His Royal Highness is a huge music lover, and it was a joy to see him tapping his foot to traditional jigs performed by two students from the Royal Conservatoire of Scotland – just a small taste of the breadth and calibre of music that will be heard on our stage in years to come.”
Dunard Centre welcomes The Duke of Kent for landmark first royal visit
The high-profile visit comes shortly after the project celebrated a major construction milestone, with piling works concluding in June and excavation of the 10-metre-deep, two-storey basement now underway.
Designed by David Chipperfield Architects with Reiach and Hall Architects, the Dunard Centre will be the first concert hall in the UK to be designed by world-leading Japanese firm Nagata Acoustics.
Supported by Royal Bank of Scotland, and located behind its Head Office building at No. 36 St Andrew Square, the ‘Hall for All’ will be a vibrant hub for all kinds of musical performance, events, learning and community activities, as well as the new permanent home of the Scottish Chamber, and a new venue for the Edinburgh International Festival.
Dunard Centre welcomes The Duke of Kent for landmark first royal visit
The collaboration between the Dunard Centre and London’s Wigmore Hall, announced in March this year, was one of a series of unprecedented academic and artistic partnerships to be launched by the globally-renowned Wigmore Hall in celebration of its 125th anniversary.
The collaboration will see Wigmore Hall Director John Gilhooly leading the Dunard Centre’s new artistic advisory committee, as well as a range of shared programming and commissioning initiatives.
A lifelong supporter of the arts and a passionate music fan, The Duke has been Patron of Wigmore Hall for 10 years, regularly attending concerts at the venue.
In October 2025, at a recital marking his 90th birthday celebrations, His Royal Highness was presented with the Wigmore Medal by mezzo-soprano Dame Janet Baker in recognition of the contribution to the hall’s musical life.
Music Venue transformed by The National Lottery as Part of Everywhere At Once Festival
The National Lottery has transformed Carnegie Hall with a striking projection of Katie Tunstall’s iconic song lyrics – Suddenly I See – onto the side of the building where she performed early in her career, celebrating hometown pride as many venues face closure due to growing financial pressures.
This projection joins a nationwide activation that marks the launch of Everywhere At Once, shining a spotlight on the vital role independent venues play in nurturing emerging talent and shaping local cultural identity.
National Lottery players have been the biggest supporters of grassroots music, with over £1 billion raised for music related projects.
Full listings and ticket details for Everywhere at Once can be found here: www.everywherefest.com
Lyrics from KT Tunstall’s anthem ‘Suddenly I See’ were illuminated onto Carnegie Hall in Fife, close to where she grew up, and recipient of £77,000 in funding from The National Lottery. Members of the public were stopped in their tracks upon seeing the iconic song lyrics projected onto this iconic music venue to mark the Everywhere At Once festival.
Taking place on what would have been the Glastonbury Festival weekend of June 26 to 28, 2026, more than 400 grassroots music venues will stage hundreds of live music events under the banner of Everywhere At Once, making it the UK’s biggest festival.
The initiative, brought to life by a partnership between Music Venue Trust and The National Lottery, will create a national moment to celebrate the grassroots music ecosystem.
More than £1 billion has been raised for music related projects across the UK, helping support venues, festivals, emerging artists and community organisations – all made possible because of National Lottery players. This funding continues to play a vital role in protecting grassroots venues at a time when many face increasing financial pressure despite their enormous cultural importance.
Additional projections across the UK, include lyrics lighting up venues including 229 in London where Tinie Tempah performed the night his breakout single ‘Pass Out’ went to number 1 in the charts; Worcester’s The Marrs Bar, an early-stage venue for Becky Hill; and Empire Music Hall in Belfast where The Divine Comedy performed in their early days.
People feel a strong sense of pride and connection to artists from their local area, with hometown success stories becoming an important source of identity and celebration across the UK.
Music has long played a central role in shaping this cultural pride, including the connection of Katie Tunstall to Carnegie Hall in Fife. Grassroots venues are at the heart of these stories, providing essential spaces where emerging talent can develop while bringing communities together through shared live music experiences.
The projections capture this spirit, transforming the venues that helped launch careers into glowing symbols of local pride.
Alastair Ruxton, Chief Impact Office at Allwyn, operator of The National Lottery, said: “Across the UK, people feel a strong sense of connection to artists from their local area, with hometown success stories becoming an important source of identity and celebration.
“Grassroots venues are at the heart of these stories, providing essential spaces where emerging talent can develop while bringing communities together through shared live music experiences.
“These projections capture that spirit, they celebrate not just iconic artists and lyrics, but the grassroots venues and local communities that supported them from the very beginning. Because of National Lottery players, more than £1 billion has been raised for music related projects across the UK, helping these vital venues continue to nurture the next generation of talent.”
Everywhere At Once will take place across hundreds of venues nationwide, with more than 2,000 artists performing across a diverse range of genres.
As one of the biggest supporters of grassroots music, The National Lottery is helping power this unprecedented weekend championing independent venues, supporting emerging talent, and shining a light on the foundations of the UK music scene.
A CELEBRATION OF THE PAST, THE PRESENT & THE FUTURE OF TRAD IN EDINBURGH
Multi-award winning Scottish folk band Session A9 closed this year’s Edinburgh Tradfest with a standout live performance, and multiple encores at the Traverse Theatre on Monday 11 May.
The festival ran from (1-11 May) and included 11 days of live music, talks, workshops, folk film screenings and storytelling, thanks to continued support from Creative Scotland and the William Grant Foundation.
This year’s programme of over 60 events, was a tremendous success, with organisers enjoying:
● A 9% increase in ticket sales to music events at the Traverse Theatre.
● Multiple sell-outs including award-winning Connemara singing sensations Séamus and Caoimhe, Kim Carnie, Eilidh Shaw and Ian Carr, The Onlies, Deiseil: Dancing in Time, Nexus Project, Dick Gaughan in conversation and Session A9.
● Standing ovations for multiple performers including: Rajasthani folk trio SAZ; and Ukrainian folk musician and live-looping artist GANNA.
● Free pop up performances from Astro Bloc at Edinburgh Airport, SAZ at the Aroma Restaurant and Bar in Broxburn, and Dauntless at Nobles Bar in Leith.
● An increase in audiences aged under 26 thanks to the festival’s £9 ticket offer for younger audiences. Under 35s up from 21% to 25%
● A more international audience than ever before with 21% of the audience from outside the UK, whilst still being popular in the local area – 73% from Scotland (55% from Edinburgh).
Copyright_Douglas RobertsonEdinburgh
This year’s music commission A’Chiad Litir, (The First Letter) also received 5-star reviews.The piece, inspired by the life of sixteenth-century lesbian love poet Marie Maitland, touched on questions of language, identity and the notion of queerness and was created and performed by renowned singer songwriter and composer Josie Duncan.
Joining Josie was a stellar line-up of musicians including; Charlotte Printer (bass and vocals), Chloë Bryce (fiddle), Eilidh Rogers (percussion), Jenny Clifford (guitar) and Ashley Douglas (spoken word) who read one of Marie Maitland’s poems addressed to another woman she loved.
Other stand-out highlights from this year included trad powerhouse RURA and newcomers Astro Bloc who played to a lively crowd on opening night at Potterrow; The Complete Recordings of Hezekiah Procter – a live vaudeville act, featuring old-time music performed on fiddles, banjos and sousaphone; Isla Ratcliff’s Scottish trad reinterpretation of Vivaldi’s The Four Seasons; and award-winning folk singer Fiona Hunter taming toddlers with her interactive music session for under 5s and above.
Further afield, the hugely successful Folk Film Gathering supported by Screen Scotland, drew in the crowds with its popular programme of Scottish and international films, many accompanied by live scores or introductory talks.
In particular, the launch of Faodail | Found Outer Hebrides Film Archive website which featured live music from acclaimed accordionist and composer Pàdruig Morrison with fiddler and Gaelic singer Claire Frances MacNeil; the world premiere of a new documentary exploring the life and work of tradition bearer Jimmy Hutchison; Celtic Utopia which celebrates Ireland’s current folk renaissance and features many bold, funny, and politically outspoken young Irish folk musicians including Lankum and The Mary Wallopers; the UK premiere of Italian documentary Canone Effimero which showcases the raw energy and some of the vibrant folk traditions of Italy; and a curated selection of early, rarely-seen silent films by Scottish legendary film maker Bill Douglas.
Over at the Scottish Storytelling Centre, crowds gathered on Living Heritage Discovery Day to hear Ireland’s folklore aficionado Michael Fortune talk about Intangible Cultural Heritage and tradition-bearing.
Plus, throughout the festival, the Centre’s popular ‘What is…’ series of talks explaining what makes traditional dance, music,crafts, Gaelic, and Scots, truly traditional, drew audiences from all over, keen to hear from the experts about what makes each artform unique.
Lauren Paterson, Head of Programming at the Scottish Storytelling Centre said: “During the year of the Scottish Storytelling Centre’s 20th birthday, it’s been a joy to welcome audiences, performers and tradition-bearers alike to celebrate the richness, liveliness and variety of Scotland’s living heritage as part of Edinburgh Tradfest.
“From hands-on Come and Try sessions and workshops to explorations of traditional culture and identity through conversation and performance, it’s been inspiring to see so many people engaging with traditions and making connections with their own experience.”
Douglas Robertson and Jane-Ann Purdy, co-producers of Edinburgh Tradfest said: “We are delighted and encouraged with how Edinburgh Tradfest went this year. To have audiences up by 9% is a real achievement especially in tough economic times.
“We are also extremely happy to see the numbers rising amongst the younger age groups. One of the many highlights for 2026 was the move into other areas of the city with some entertaining (and free) pop up performances.
“We hit Broxburn, Turnhouse and Leith this year, and are already planning to pop up in some other unusual locations for 2027.”
Edinburgh Tradfest will return from 30 April to 10 May 2027.
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.
The Royal Ballet and Opera has announced an exciting programme of cinema screenings throughout the 2026/27 Season.
The two companies present a range of works across the Season. The Royal Ballet performs beloved favourites including Kenneth MacMillan’s Manon and Romeo and Juliet, and Liam Scarlett’s Swan Lake. Christopher Wheeldon’s Alice’s Adventures in Wonderland will be specially broadcast over the Easter period, an ideal ballet for all the family, and The Royal Ballet celebrate Christmas with Peter Wright’s enduring classic The Nutcracker.
The Royal Opera present a mixture of revivals and new works. There will be two new opera productions, including the final installment of Barrie Kosky’s acclaimed Ring cycle, Götterdämmerung.Associate Director of The Royal OperaNetia Jones makes her Main Stage debut with a new staging of Così fan tutte, screened live in February. Two celebrated productions will also return to cinemas: the first revival of Director of The Royal OperaOliver Mears’ Tosca, and a revival of Damiano Michieletto’s Carmen.
The UK cinema season also includes two new productions from The Metropolitan Opera, New York. In October, opera fans will be treated to a brand-new production of Macbeth from director Louisa Proske, who makes her debut with the company.
UK audiences will also be able to enjoy The Metropolitan Opera’s La Fanciulla del West in a new staging by British director Richard Jones.
Offering audiences a view from the best seat in the house, the RBO cinema Season shares the joy of live performance and the beauty of world-class ballet and opera with audiences in more than 1,500 cinemas and 50 countries around the world.
Cinema audiences can enjoy exclusive extra rehearsal and behind the scenes films during the intervals with specialist presenters offering an insight into the workings of the Royal Ballet and Opera.
Director of The Royal Opera, Oliver Mears said:“It is fantastic to be able to share our exhilarating productions with our cinema audiences and this season there is much to enjoy.
“Barrie Kosky’s Ring cycle continues to thrill and excite audiences, and I have no doubt that Götterdämmerung will complete the cycle with breathtaking wonder.
“Our Associate Director Netia Jones makes her Main Stage debut with a contemporary spin on Mozart’s Così fan tutte whilst enduring classics such as Tosca and Carmen also demonstrate why opera is the most captivating and visceral artform out there.”
Director of The Royal Ballet, Kevin O’Hare said:“Sharing The Royal Ballet’s live cinema relays with audiences across the globe is always incredibly special, and this Season we are delighted to bring you a wonderful selection of ballets to delight and entertain.
“Our magical productions of The Nutcracker and Alice’s Adventures in Wonderland will enchant families and audiences of all ages, while the dramatic tension of Kenneth MacMillan’s Romeo and Juliet contrasted with the pure classicism of Swan Lake make for a brilliant showcase of the artistry and virtuosity of our dancers. I very much look forward to sharing these special moments with you all.”
2026/27 Cinema Season
Macbeth | The Metropolitan Opera In cinemas: Tuesday 20 October 2026 UK only
With hair-raising drama and spectacular singing, two of opera’s most extraordinary artists star in Macbeth, Verdi’s thrilling take on the immortal Shakespearean tale of the scheming couple determined to seize power at any cost.
Following past triumphs in many of Verdi’s signature baritone roles, Quinn Kelsey is the Scottish king haunted by the ghosts of his murderous ascent to the throne, opposite Lise Davidsen—the world’s reigning dramatic soprano—as the power-mad Lady Macbeth, whose ruinous ambition damns them both.
Met Music Director Yannick Nézet-Séguin takes the podium for a penetrating production by Louisa Proske, a brilliant young director making waves around the world. Rounding out the all-star cast are tenor Freddie De Tommaso as the heroic Macduff and bass-baritone Ryan Speedo Green as Macbeth’s friend-turned-victim Banquo.
Manon | The Royal Ballet Live in cinemas: Tuesday 27 October 2026
In the seedy underbelly of 18th-century Paris, money is king. Nothing is sacred – even love itself can be bought for the right price. A native of this hedonistic underworld, Manon is caught between twin desires when she falls in love with the student Des Grieux. Steadfast and devoted, he offers the possibility of an honourable life. Yet, the riches promised by the world of Parisian society remain tempting…
In this signature work of The Royal Ballet, Kenneth MacMillan’s nuanced understanding of human psychology makes for an unflinching look into the moral degradation of Manon’s Paris, while all its decadence and decay are brought to life through Jules Massenet’s score and Nicholas Georgiadis’ designs.
Carmen | The Royal Opera Live in cinemas: Tuesday 10 November 2026
Damiano Michieletto’s searing production returns, casting scorching light on the lust, violence and destructive desire of Bizet’s ever-popular opera.
An all-star cast brings this white-hot drama to life, with Ginger Costa-Jackson in the fiery title role, alongside Russell Thomas as the jealous and despairing Don José.
The Nutcracker | The Royal Ballet In cinemas: Tuesday 1 December 2026
Nothing says Christmas quite like The Nutcracker, and this year, The Royal Ballet celebrates the festive season with Peter Wright’s beloved ballet. Since its premiere in 1984, this much-loved production has become a Christmas classic. With Tchaikovsky’s stunning score and Julia Trevelyan Oman’s sumptuous designs, this festive favourite is a treat for the whole family, bringing the spirit of the original fairy-tale to life.
La Fanciulla del West | The Metropolitan Opera In cinemas: Tuesday 26 January 2027 UK only
Puccini’s exhilarating drama of the Wild West returns in a new staging by celebrated British director Richard Jones, marking the company’s first new production of La Fanciulla del West in more than 30 years. Soprano Sondra Radvanovsky adds to her already remarkable Met repertoire, making her role debut as the larger-than-life Minnie, the tough tavern owner with a heart of gold who finds love when she least expects it. Tenor SeokJong Baek is the dashing bandit who rambles into the remote California mining town to steal her heart, opposite baritone Christopher Maltman as the lawman determined to deliver rough justice—and win Minnie for himself. Maestro Keri-Lynn Wilson takes the podium to conduct one of opera’s most action-packed adventures.
Götterdämmerung | The Royal Opera Live in cinemas: Wednesday 3 February 2027
For the long-awaited finale of Wagner’s epic saga, director Barrie Kosky situates the rich apocalyptic drama in a contemporary world of dream-like turmoil. Antonio Pappano, Conductor Laureate of The Royal Opera, returns to take on the impassioned, otherworldly music – including Siegfried’s transporting Funeral March and Brünnhilde’s electrifying Immolation Scene.
The brilliant cast is led by Elisabet Strid, Andreas Schager and Mika Kares, who together with the full forces of the Orchestra of the Royal Opera House and the Royal Opera Chorus bring opera’s greatest journey to its shattering end.
Così fan tutte | The Royal Opera Live in cinemas: Tuesday 23 February 2027
In her Main Stage debut, Netia Jones, Associate Director of The Royal Opera, reimagines Mozart’s comedy of manners through a sharp contemporary lens, where 18th-century romantic trickery meets deeply satirical high-tech deceit. Taking on the roles of the lovers is an exciting young cast led by Louise Alder, Simone McIntosh, Mingjie Lei and Huw Montague Rendall, with Gerald Finley as their manipulative game-master Don Alfonso and Emily Pogorelc as Despina. Thomas Hengelbrock conducts, bringing out the exquisite melodies that underpin the provocative, and resolutely modern, themes at the heart of the opera.
Alice’s Adventures in Wonderland | The Royal Ballet In cinemas: Tuesday 23 March 2027
Christopher Wheeldon’s Alice’s Adventures in Wonderland bursts onto the stage in an explosion of colour, stage magic and inventive, sophisticated choreography.
Joby Talbot’s score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley’s wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real. The result shows The Royal Ballet at its best, bringing together world-class dance with enchanting family entertainment and ingenious music and design.
Swan Lake | The Royal Ballet Live in cinemas: Thursday 22 April 2027
Princess Odette is bound by a curse, turned into a swan by the evil sorcerer Von Rothbart. The spell can only be broken by a pledge of eternal love. When she meets Prince Siegfried, he is immediately enamoured by her fragile beauty and pledges to free her. but freedom is not promised for Odette as Von Rothbart conspires to thwart the lovers’ plans.
Liam Scarlett’s production for The Royal Ballet brings together Tchaikovsky’s towering score and John Macfarlane’s picturesque designs to create an enduring ballet spectacle of love, treachery and forgiveness.
Tosca | The Royal Opera Live in cinemas: Wednesday 5 May 2027
Floria Tosca and Mario Cavaradossi live for each other and for their art. But when Cavaradossi helps an escaped prisoner, the lovers make a deadly enemy in the form of Baron Scarpia, Chief of Police.
Oliver Mears’ acclaimed production returns, setting Puccini’s operatic thriller in a contemporary, war-torn Rome. Daniel Oren conducts Aleksandra Kurzak, who returns to the title role, joined by Saimir Pirgu as Cavaradossi and Christopher Maltman as Baron Scarpia.
Romeo and Juliet | The Royal Ballet In cinemas: Tuesday 25 May 2027
Shakespeare’s great love story is brilliantly retold through this modern ballet classic. The fervent longing of the star-crossed lovers is perfectly captured by Kenneth MacMillan’s impassioned choreography.
The flourishing of young love is just as present in Romeo and Juliet’s meeting on the balcony as in their final moments when they desperately cling to life in the tomb.
Funding includes collectives tackling gender inequality
Projects aiming to reduce gender inequality will benefit from the latest round of Creative Scotland’s Open Fund. 109 projects have received support in this latest round of National Lottery funding, including inclusive literature workshops and enlightening theatre work for young people.
Feminist Exchange Network (FEN)is a Glasgow-based collective of women and marginalised genders who use art and creative practice to explore how feminist economics relate to people’s everyday lived experiences.
At the heart of the FEN programme is a mobile library – a physical structure built in 2021 by artist Hannah Brackston.
Housing a growing collection of books and materials on feminist issues including economics, climate justice, health, labour and community care, the library was designed not only as a collection of resources, but as an artistic and social tool, a catalyst for conversation, collective thinking and creative response, across the communities it visits.
Over the coming months FEN will deliver a series of workshops and events for women and other marginalised genders in the local community, inviting them to explore and respond to the ideas in the library’s collection.
They will be running workshops at Romano Lav, Milk, Amina and with groups of New Scots, as well as a performance and film event as part of the Govanhill Carnival in August.
Ailie Rutherford, Artistic Director of Feminist Exchange Network said: “The funding we have received from Creative Scotland will allow us to deliver a programme of mobile library workshops, feminist exchanges and public events to bring artist-led, participatory activity to community venues across South Glasgow – creating accessible spaces to explore intersecting feminist issues relevant to local concerns such as care, health, labour, climate justice and alternative economic futures.”
I Am Not My Hair is a new dance-theatre work created for black and mixed-race girls aged 8-12 years old. The piece celebrates the history, cultural significance and creativity of black hair, highlighting both the pressures young people face to fit in and the power of embracing who they are.
Drawing on lived experience, the work responds to the lack of representation for young Black audiences in the performing arts. Through vibrant movement, music and storytelling, the piece will create a space where identity is honoured and individuality is celebrated.
The project aims to give young audiences the chance to see themselves reflected on stage, while inviting wider audiences to engage with the richness and meaning of Black hair culture, it aims to foster pride, understanding and a more inclusive artistic landscape.
Developed by Edinburgh-based French-Cameroonian musician, composer and singer-songwriter Marie-Gabrielle Koumenda, Creative Scotland funding will be used to support the development of a preview of the show, to be presented this autumn.
Multi-disciplinary artist Marie-Gabrielle Koumenda. Photo -Hen Hoose Collective.
Marie-Gabrielle Koumenda, Developer of I Am Not My Hair said: “The Open Fund will allow me to develop work that affirms Black identity and culture, and that offers joy, complexity and visibility.
“To me, this is the right moment to bring this work to the stage and that speaks directly to the experiences of Black communities, empowers young people and challenges the limited narratives traditionally seen in theatre. I want young Black and Mixed-Race girls to feel seen, valued, and understood by a wider audience.”
Matrescence is a three-month creative project from Glasgow Library of Synthesised Sound (GLOSS) co-founder and musician, Suzi Cook, exploring the profound physical and psychological shifts known as matrescence – the transition into motherhood. Drawing on her own and others’ experiences, Cook will weave their voices into layered compositions, in part inspired by communal voice traditions including Gaelic psalm singing. “I’m creating music that grows and transforms in real time,” Cook explains, “embracing chaos, paradox and tenderness – much like motherhood itself.”
Cook’s recordings will be processed through granular instruments and effects using their unpredictable textures as a metaphor for growth, surrender, and renewal. Developed over a residency of three months at GLOSS, the resulting body of work will form Cook’s first solo record to be released on her label, Full Ashram, with accompanying parallel artwork.
Part meditation on identity and interdependence and part sonic exploration of creativity within change, Matrescence marks a distinctive new contribution to Scotland’s experimental music landscape.
Musician and Gloss co-founder Suzi Cook. Photo by Lewis Cook.
Suzie Cook, Matrescence Project Lead and musician said: “The Open Fund has allowed me to create a flexible residency for myself: dedicated time to explore the themes of motherhood and matrescence, engage with the stories of other mothers and reconnect with a creative practice that necessarily quietened when I became a parent myself.
“Creativity looks and feels vastly different on the other side of becoming a mother. This residency is how I’ve finally been able to shape the time to respond to it.”
These Open Fund awards are among 109 individual grants made to artists and creative practitioners across Scotland in April 2026.
Other awards spanning artform and location in this round, include:
They Sent A Woman – recording artist Ella Munro will produce an album of Scots, folk and traditional song that centres on the stories and voices of women, both historical and contemporary with original songs included. The project will showcase lesser-known traditional music and highlight work by female songwriters, drawing attention to narratives that are often overlooked in the folk canon.
She Says No – a bold, stylistic monologue play where theatre, spoken word and electronic sound collide. The piece walks the line between liberty and sacrifice, celebrates female rage and asks whether women can ever find freedom in a patriarchal world. She Says No will be developed by SG Theatre Productions, with pilot performances at the Tron and Traverse theatres.
Feed Free – a pop-up exhibition by Hayley Hadden, organised in collaboration with the charity LLL Collective, portraying the realities, diversity, triumphs and challenges faced by breastfeeding mothers in Scotland.
Commenting on April’s Open Fund awards, Paul Burns, Director of Arts at Creative Scotland said: “The latest wave of awards expertly illustrates how creatives use Open Funding to champion important themes and rights like gender equality, creating access and representation right across Scotland.
“Thanks to support from The National Lottery, these forward-thinking initiatives will connect audiences to literature, devise original dance and theatre works, and produce boundary pushing experimental music.”
You can find the full list of awards in April on our website.
Uniquely inventive, darkly funny Scottish debut features starsDomhnall Gleeson, Gayle Rankin and Grant O’Rourke
EIFF will run from 13 – 19 August 2026
Edinburgh International Film Festival (EIFF) has announced today that Edinburgh-born filmmaker Louis Paxton’s spirited and witty debut film, The Incomer will open its 79th edition, running from 13 – 19 August 2026.
The Focus Features and Universal Pictures International film, stars Domhnall Gleeson (Ex Machina, The Paper), Gayle Rankin (House of The Dragon, Glow) and Grant O’Rourke (Outlander) with ensemble cast including John Hannah (Sliding Doors, The Last of Us) Michelle Gomez (Green Wing, Doom Patrol) and Emun Elliott (The Gold Sexy Beast).
The Incomer is set on a remote Scottish island and follows siblings Isla (Rankin) and Sandy (O’Rourke) who have lived in peaceful isolation for decades, hunting seabirds, chatting to mythic creatures and defending their isle from dreaded Incomers. Their world is upended with the arrival of Daniel (Gleeson), an awkward council worker, tasked with uprooting them to the mainland.
Written and directed by bold new filmmaking talent Louis Paxton, the film won the NEXT Innovator Award at the 2026 Sundance Film Festival.
Produced by Bafta winner Shirley O’Connor and Emily Gotto and co-produced by Wendy Griffin, The Incomer has been praised by critics and audiences for its wit, heart and independent spirit.
The film is supported by the BFI (awarding National Lottery funding), Screen Scotland with additional support from musician Moby and Lindsay Hicks’ U.S. production company Little Walnut, Trevor Noah’s Day Zero Productions, UK’s Head Gear Films and Ireland’s Inevitable Pictures.
The Incomer will be released by Universal Pictures International in the UK and Ireland later this year.
EIFF CEO and Festival Director, Paul Ridd has said: “With wit, grace and intelligence, this striking, unpredictable and beautifully acted Scottish debut dazzled, moved and amused us immensely when we first saw it back in January.
“We are thrilled to open this year’s edition with a film which embodies such a stirring and inspiring spirit of creativity, empathy and invention in filmmaking. This is precisely the kind of film that EIFF is all about.”
Film Producers, Shirley O’Connor and Emily Gotto said: “It’s such an honour to open Edinburgh with this film. Shooting in Scotland with this exceptional cast and crew was a genuinely special experience and bringing that work home to a Scottish audience means everything to us.
“Huge thanks to EIFF, and all our partners, including Screen Scotland, who helped get us here.”
Director Louis Paxton said: “Opening the Edinburgh International Film Festival with my debut feature is a dream come true.
“Screening in my beloved hometown, and the festival where I started as a teenage usher, sharing this story with a Scottish audience, is nothing short of mind-blowing. I couldn’t ask for a more meaningful premiere.”
Kezia Williams, Managing Director UK & Ireland, at Universal Pictures International commented: “We’re delighted to see The Incomer open this year’s Edinburgh International Film Festival. Louis Paxton has made a wonderfully distinctive film, firmly rooted in Scotland, full of character and heart.
“We’re proud to be bringing it to audiences across the UK and Ireland.”
Isabel Davis, Executive Director of Screen Scotland said: “Louis is bringing it home following The Incomer’s triumph at Sundance earlier this year.
“It marks an extraordinarily assured debut feature. This singular story of a remote community on Scotland’s Far North coast feels truly distinctive, something that could only have come from here.”
Mia Bays, Director of the BFI Filmmaking Fund, said: “Opening the 2026 Edinburgh Film Festival with The Incomer means a great deal to us.
“It’s a terrific film made by Louis, Emily, Shirley and team that looks at Scottish island life, sibling relationships and the quiet forms of loneliness that shape people — but it does so with such generosity and bright humour.
“Watching Daniel (Domhnall Gleeson) reassess the world he’s taken for granted when he meets Isla and Sandy (the peerless Gayle Rankin and Grant O’Rourke) is both moving and gloriously funny.
“We are grateful to Paul Ridd and team for centring such bold, character driven storytelling and cannot wait to experience the response to it from a homegrown and internationally blended crowd.”
EIFF’s invigorated vision under leadership from CEO and Festival Director Paul Ridd and Festival Producer Emma Boa continues to accelerate the discovery of new film talent and engage with audiences, industry members and local, national and international media.
More information will be released on the shape of the 2026 Festival, venues and key strategic partners in the coming months.
EIFF 2026 is supported by Screen Scotland.
The EIFF team continues to create a world-class showcase for independent film and filmmaking talent.
The Festival is supported by a Board chaired by Andrew Macdonald of DNA Films, producer of the iconic Edinburgh-based film Trainspotting, including Vice Chair Amy Jackson, producer of BAFTA award-winning indie, Aftersun; Peter Rice, former Chairman of General Entertainment at Disney and President of 21st Century Fox; Teresa Moneo, producer and former Director of UK Film, Netflix; Isla Macgillivray, Partner at Saffery; and gaming executive Romana Ramzan.
105 new shows across comedy, theatre, musicals, cabaret, variety and children’s shows go on sale today from Gilded Balloon, marking its biggest on sale to date, with more programme announcements still to come.
These newly announced shows form part of a wide-ranging 2026 Edinburgh Festival Fringe programme, bringing together leading names, rising stars and international artists. From big nights out to thoughtful theatre and side-splittingly clever comedy, August at Gilded Balloon offers something for all ages and tastes.
Karen and Katy Koren, Artistic Directors of Gilded Balloon,said: “We’re delighted to be putting a further 105 brilliant shows on sale as part of this year’s Fringe programme, with even more still to be announced.
“This line-up brings together some of the most exciting talent working today alongside the next generation of performers, and truly reflects the breadth and energy of the Fringe.”
The programme brings together established names including Gregor Fisher, Phil Nichol (returning with two shows), The Guilty Feminist and Rich Hall, alongside a strong wave of new voices making their Fringe debuts. Rising talent includes includes Madeleine Brettingham, Adi Parmar, Fab Goualin, Hannah Byczkowski and Shane Daniel Byrne, while Gilded Balloon continues its commitment to Scottish artists with debut shows from Eva Peroni and Alan Jay, and returning favourites Kim Blythe and Kathleen Hughes. The programme also features new Scottish music and theatre, including Crocodile Rock and a range of bold new productions across the theatre programme.
Gilded Balloon’s legendary shows return for 2026. Late’n’Live is back as the original late-night show, featuring stellar line-ups of your favourite acts from across the festival, hosted by some of the best MCs in the country every night.
Described as “The best late-night show on the Fringe” (Scotsman) and “A Fringe institution for a reason” (TheRecs.co.uk), previous acts have included Johnny Vegas, Bill Bailey, Rich Hall, Jason Byrne, Mawaan Rizwan, John Bishop, Larry Dean, Maisie Adam, Reuben Kaye, Jordan Grey and Viggo Venn. Late’n’Liveremains an essential addition to any Fringe bucket list.
Best Of So You Think You’re Funny? returns with an unmissable line-up of fresh talent, including finalists Reb Day, Joel Walker and Rachel Porter, offering audiences the chance to see the best emerging comedians before they become household names.
So You Think You’re Funny? Heats continue the search for comedy’s next big star, as contestants compete for a place in the final of the UK’s biggest newcomer competition. Previous winners include Peter Kay, Aisling Bea, Sara Pascoe and Lee Mack.
Comedy highlights includeGregor Fisher: An (Early) Evening With Gregor Fisher, where the Scottish stage and screen legend shares stories from his life and career; Madeleine Brettingham: Legend, the debut show from the So You Think You’re Funny? 2025 winner exploring myth, identity and growing up in a world of booze-soaked bad behaviour; and Rich Hall: Chin Music, a typically sharp, improvisational hour from the acclaimed comedian.
The Guilty Feminist, hosted by Deborah Frances-White, brings its Road to Gilead Project to the Fringe, alongside rising Scots comedy star Kim Blythe: Puzzle, following a sold-out 2025 run, and Smack The Pony’s Fiona Allen: White Lies, a sharply observed new show about social anxiety and human interaction.
New additions to the programme include Comedy Night at the Museum, a Gilded Balloon production bringing together top international comedians for a wholly improvised late-night show inspired by real artefacts from the National Museum of Scotland; Shane Daniel Byrne: Baby It’s Time, showcasing one of Ireland’s fastest-rising comedic voices; and Christian Dart: GUMSHOE!, a multi award-nominated, sell-out hit blending noir parody with high-energy character comedy.
Theatre highlights include SLAY, a darkly funny and unflinching exploration of trauma, therapy and modern coping mechanisms, andSilent Disco, an inventive, headphone-led experience blending psychology and music.
Further standout work includes HESS, Michael Burrell’s powerful and timely revival exploring the psychology of extremism and its lasting impact, and Broke & Fabulous in the 21st Century,a riotous, raunchy dramedy celebrating friendship, ambition and modern love.
Other theatre shows on sale today include Ostrich, a sharp look at modern dating and identity; Top Gunchained, a high-energy parody from the team behind Yippee Ki Yay; Boy in a Box, a confronting and urgent piece examining race and identity in America; and Waiting For Wonka, a darkly comic reimagining of childhood nostalgia.
Themed shows bring a mix of interactive and late-night entertainment, includingThe Thinking Drinkers’ Great British Pub Ride, an epic, drink-fuelled journey from Land’s End to John O’Groats; Dreamgun Film Reads, where comedians perform unrehearsed parody versions of classic films; and Not Another Quiz Night, a high-energy, chaotic late-night favourite.
Cabaret and variety sees Fake, a critically acclaimed blend of magic, storytelling and illusion from Chris Cook that explores truth, deception and identity; EIGHT: The One (Wo)Man Drag King Musical Parody, a high-energy, genre-bending musical comedy reimagining Henry VIII through drag, parody and pop and Fungasm: Save or Smash offers up bold, interactive performance.
Also featured is Charlene Kaye: Diversity Shredder, introducing audiences to the unhinged, razor-sharp world of Charlene Kaye — guitar god, internet legend and “breakout comedy star” (Rolling Stone), alongside Siobhan Wilson: Flowercore, an immersive performance celebrating Scotland’s wildflowers through music and visual art.
Children’s and family shows include Max Fulham’s Monkey Business, a lively, family-friendly mix of puppetry, sketches and slapstick comedy andMama G: The Magic Bookmark comes to Teviot. “Everyone’s favourite pantomime dame!” (Metro) and Britain’s Got Talent semi-finalist Mama G discovers the magic of books and the power of being yourself in this hilarious award-winning panto adventure for the whole family!
Bring Yer Bairn Comedy is the adult comedy show where you can bring yer bairn! A selection of our favourite comics from the Scottish scene and beyond, performing to parents, carers and bairns under 15 months old! The perfect morning show!
All shows will take place across Gilded Balloon’s four venues this August, including the welcome return to Teviot, alongside Patter House and Gilded Balloon at the Museum, as well as the newly added Gilded Saloon, GB’s year-round pub and live venue.
It’s set to be a very pink summer!
Further programme announcements will follow in the coming months. For full listings visit www.gildedballoon.co.uk or follow @gildedballoon.
Gilded Balloon is one of Scotland’s leading and best-loved entertainment producers, presenting a cross-genre programme annually at the Edinburgh Festival Fringe and touring productions across the UK throughout the year.
