The co-founder of world-renowned contemporary art attraction Jupiter Artland has spoken of her pride after being awarded an Honorary Doctorate from Edinburgh Napier University.
Nicky Wilson was given the honour during the University’s graduation ceremony at Edinburgh’s Usher Hall, in recognition of her work to inspire the next generation of artists.
An accomplished artist in her own right, Nicky set up Jupiter Artland on the outskirts of Edinburgh in 2009, with the park’s distinctive sculptured grass landscape and permanent works quickly establishing it as one of Scotland’s most significant artistic projects.
Nicky said: “It means so much to me to have the work of Jupiter Artland and the team over the last 20 years recognised by the University.
“It’s a wonderful thing to be given a graduation, when I didn’t have one right at the beginning. I did get my degree, but I didn’t go to it.
“It’s with regret that I didn’t go because I now know how much it feels like you’re at the beginning of another chapter of your life. And funnily enough, this feels like the beginning of another chapter of my life.
“The recognition from the work that’s been done so far is just spurring me on to do more.”
Born in Edinburgh, Nicky graduated with a BA, then an MA in sculpture – continuing to practice it alongside a career in marketing and PR.
Since the creation of Jupiter Artland, it was nominated for ArtFund’s Museum of the Year in 2016. It has also become a powerful learning space for young people, offering free school visits throughout the year.
In 2017, Nicky founded Jupiter Rising, a festival of avant-garde music, art and film for young artists and performers from diverse backgrounds, and in 2018 she set up the ORBIT Youth Council, a creative collective for 16 to 18-year-olds from all over Scotland. Most recently, Jupiter+ was established as an offsite commissioning programme designed to inspire the next generation of artists.
There have also been several examples of collaboration between Jupiter Artland and Edinburgh Napier University.
Giving the laureation speech to award Nicky with an Honorary Degree of Doctor of the University, Dr Tom Flint, Associate Professor in Edinburgh Napier’s School of Arts & Creative Industries, said: “It is hard to imagine anyone with more passion for art, artists and the opportunities creative practice affords than Nicky.
“Working with Nicky and her team has opened a world of radical engagement and inclusivity. The resulting knowledge generated from our collaborations has been presented at conferences around the world.
“Nicky’s generosity and outlook have augmented my own practice as well that of as numerous colleagues and students. As a university we have immense gratitude for all she has achieved.”
A new residency for musical theatre writers, composers, and lyricists from the UK, India and the United States
Presented by Cove Park and Dundee Rep Theatre in partnership with Capital Theatres, Citizens Theatre, Macrobert Arts Centre, National Centre for the Performing Arts – Mumbai, National Theatre of Scotland, Octopus Theatricals – New York City, Royal Lyceum Theatre Edinburgh, and Traverse Theatre.
Associate partners include A Play, A Pie and a Pint, Pitlochry Festival Theatre, Playwrights’ Studio Scotland and Tron Theatre.
With their rich and varied expertise, the partners will work with Cove Park and Dundee Rep and play a valuable role in this project. Providing mentoring, support and feedback as required during the residency, they will help enrich the writers’ experience. All partners are committed to developing the musical theatre landscape, both in Scotland and further afield.
The residency has been devised by Andrew Panton, Artistic Director of Dundee Rep Theatre, and will include facilitated sessions with Dramaturg Jeanie O’Hare (formerly Director of New Work Development at The Public Theater), Music Supervisor Nigel Lilley (Next to Normal at Donmar Warehouse, Caroline, or Change on Broadway), Donna Lynn Hilton, Artistic Director of Goodspeed Musicals and David Greig, Artistic Director of Royal Lyceum Theatre Edinburgh.
The programme also includes networking opportunities and workshop sessions, in-person and digital, with industry professionals including writers, composers, producers, directors, and other theatre practitioners – such as Tony® Award-winning director John Doyle, Tony® and Grammy® Award-winning producer Mara Isaacs, Tony® Award-winning producer Rashad V. Chambers, and more.
Applications to take part in this residency are being accepted from UK-based teams of up to three collaborators who have a musical theatre idea in need of development and would benefit from the residency experience to take it to the next stage in its creation.
To apply, individuals or teams must be based in the UK – Cove Park and Dundee Rep are particularly interested in receiving applications from teams based in Scotland. The participating artists from India and the United States will be selected separately through nominations via international partners.
The Lammermuir Festival 2023 came to a close this week while urgently working to secure its future.
Nicola Benedetti and Sir James MacMillan add their support for Lammermuir Festival.
Open Letter to Creative Scotland signed by 362 musicians, composers, educationalists, politicians, participants, supporters, audience members and local businesses.
The Lammermuir Festival closed its 14th festival earlier this week, one of its most successful yet. The programme was met with great acclaim cited by some music critics as the best programme presented.
Audiences flocked with over 80% of tickets sold, over 30% of which were to new customers. Initial analysis indicates that a little over half of those audiences were local with the remaining travelling to East Lothian to enjoy one of the UK’s best loved classical music events.
This successful edition was set against the backdrop of the festival finding out just days before it opened that Creative Scotland was not supporting its 14th festival, having invested in the event for thirteen years.
Losing the cultural funder’s support this year leaves the festival in an urgent financial position, working hard to find a secure future.
Many of Scotland’s leading musicians have lent their support to the festival’s campaign, most recently Nicola Benedetti and Sir James MacMillan.
Nicola Benedetti said: “Being able to share the best, world-class music making with audiences not residing in our cities but in rural areas is a really important part of our nation’s cultural fabric.
“An aspect we must support and nurture. The Lammermuir Festival has done this brilliantly over the last 14 festivals creating acclaimed events that also enable young artists to develop in the industry, and engage young people in the region to give them deep and extraordinary experiences.
“It would be tragic for Scotland’s music scene if this festival wasn’t supported to continue this work which benefits so many.”
An Open Letter to Creative Scotland has been signed by 362 musicians, composers, education workers, participants, supporters, audience members and local businesses including Steven Obsorne, Andrea Baker, Sean Shibe, Stuart MacRae, Dinis Sousa, Ryan Corbett, Sue Baxendale, Craig Hoy MSP, Douglas Alexander, Martin Brabbins, Sian Edwards, Ruth Ellis, Monica Wilkinson and Alfonso Leal del Ojo.
James Waters, Chief Executive and Joint Artistic Director of the Lammermuir Festival said: “The support and affection for Lammermuir Festival that we have seen pouring in from musicians, education providers, local businesses, supporters and audiences across Scotland and beyond has been incredible.
“We have never been more proud of the festival and what it brings to so many and we will continue to do everything we can to secure its future.”
Letter from supporters of Lammermuir Festival
To Iain Munro, Chief Executive of Creative Scotland and its Chair, Robert Wilson,
We the undersigned appeal to you to save what one audience member has described as a ‘precious jewel of originality and joy’.
According to the panels judging Open Fund applications at Creative Scotland, Lammermuir Festival does not sufficiently align to your priorities.
This is despite having the full support of the Music Officers at Creative Scotland who approved its application and strongly recommended funding without conditions.
This is one of the most acclaimed classical music festivals in the UK, recipient of an RPS award, the highest accolade in its field, and giving work to 350 musicians a year, many of them Scottish. It has a proven record of achievement, appeals to ever-growing audiences and supports performers at all stages in their careers.
It is also a festival which returns £750,000 in economic benefits for East Lothian, on top of its social and cultural benefits, bringing visitors to a region which is underserved for arts, offering audiences international quality music performances and participation opportunities.
If the festival were to not exist, neither would its work with McOpera which engaged 1,700 children, young people and adults as participants and audience through their outreach strand over the last two years. This proved a formative part of so many young musicians’ lives in East Lothian.
This strand of the festival’s work reached out to multiple and diverse local community groups, nurturing children and young people from across 31 different schools, supporting the growth of an Instrumental Music Service and creative organisations (such as Dunbar Voices), bringing to the region international conductors and Scottish creatives, composers, singers and instrumentalists.
It has also regularly provided career placements to students from Edinburgh College, Queen Margaret University, Edinburgh and Edinburgh Napier Universities, National Youth Orchestra of Scotland and the Royal Conservatoire of Scotland.
This decision by Creative Scotland flies in the face of the expressions of support for culture in Scotland, and in particular for festivals, that the First Minister Humza Yousaf, Cabinet Secretary for Wellbeing Economy, Fair Work and Energy Neil Gray, and Cabinet Secretary for the Constitution, External Affairs and Culture Angus Robertson have made in recent days.
The Open Fund process appears to have no strategic overview of provision, and no clear artistic, quality or geographic priorities.
Your process places huge pressure on organisations. Lammermuir Festival was invited to make multiple applications for the same activity with funding decisions taking their nerves to the wire – in this case Creative Scotland passed their verdict on a third application just 16 days before the festival started.
The system needs to change. As it stands it places Scotland’s cultural ecology on a downward trajectory.
Without Creative Scotland’s support the Lammermuir Festival’s future is under threat. Your decision not to fund the 2023 festival, destabilises the organisation and undermines the festival’s ability to plan for or run a festival in 2024 and beyond. In order to secure the future of this festival beyond 2023, urgent support is needed.
As musicians, educators, audience members, supporters, participants, businesses in East Lothian, and community leaders we are utterly appalled at your decision and urgently appeal to Creative Scotland to reverse it in order to save this cultural gem.
This festival cannot be allowed to disappear.
362 signatures which can be viewed on the Lammermuir Festival website:
Edinburgh Multicultural Festival, supported by the City of Edinburgh Council, will be held at Edinburgh College (Granton Campus) and Lauriston Castle on 30 September and 1 October 2023.
The programme features a diverse range of performers and visual artists telling their stories through creative writing and visual literacy workshops, artwork, poetry, storytelling, music, theatre, and dance.
There are also family activities, including arts and crafts, puppetry, living statues, reading sessions, and drumming workshops facilitated by Visual Literacy Matters and other artists. The festival truly has something for everyone.
This year’s musical acts include Los Chichanos, Mio Shudo, Motown Brothers, The Spinning Blowfish, Elaine Cheng, dance artists – Sam Vaherlehto and TuFlamenco as well as theatre makers – Catherine Bisset, Flavia D’Avila, Luntu Masiza and Olivier Van Den Hende.
The festival celebrates the cultural diversity of the Capital by bringing together local and international artists and creating experiences to be shared by all communities.
This year marks the 5th birthday of the festival, which has provided platforms, both on stages and digitally, for over 150 local and international artists of diverse backgrounds, and generated over 60k worldwide views since its inception.
Culture and Communities Convener, Councillor Val Walker said:“It’s fantastic to see the return of the Edinburgh Multicultural Festival later this month. I’m incredibly proud that we are supporting local artists of all backgrounds to get involved with a truly unique festival. We all want to see as many of our residents as possible expressing themselves and adding to Edinburgh’s already excellent cultural sector.
“Edinburgh’s diversity is one of our greatest strengths and this festival is just one fantastic example of our outstanding year-round cultural offerings. I want to wish the best of luck to all the organisers, performers and participants and I’m sure that this fifth year of the festival will be a great success.”
Edinburgh Multicultural Festival Director, Morgan Njobo said: “We are grateful to the City of Edinburgh Council for their support, thanks to which we can create opportunities for local diverse artists to share their work and cultures. As a South African artist based in Edinburgh myself, I value how welcoming the city is to the international talent.
“The festival is a celebration of cultural diversity in Edinburgh that is representative of the increasingly more diverse population in the city. This year we feature local artists of African, Asian, Caribbean, European, and South American origin thus creating a world stage at your doorstep.
“The festival has gone from strength to strength since 2019 as we continue to attract more participation in the arts in Edinburgh. Partnering with Edinburgh College in Granton and Lauriston Castle in Cramond allows us to create unique cultural experiences for audiences and participants of all ages and backgrounds while appreciating the hidden gem locations in Edinburgh.
“Let’s enjoy being able to be back together and support diverse artists and creatives here in Scotland.”
The 2023 Edinburgh International Festival has ended on a high, after 24 packed days of events from 2,500 remarkable and diverse artists representing 50 nations.
The programme was characterised by a high quality of art, presenting work from 130 Grammy nominated artists, 33 Grammy Award-winners, 14 Brit Award-winners, 6 Olivier Award-winners and 3 Venice Golden Lions awards. Artists also attracted significant worldwide media attention and positive reviews, with two-thirds of International Festival performances receiving four and five-star reviews.
With an unprecedented emphasis on a deepened audience experience, the 2023 International Festival reimagined how we interact with and appreciate live performance, through audio introductions, contextual demonstrations and discussions before and during performances, and bringing audiences and artists closer together through more informal, intimate performance environments.
Nicola Benedetti, Festival Director at Edinburgh International Festival said: ““I dreamt of a festival that felt truly open and welcoming, creating a shared ownership and pride over the future of our Festival and its profound contribution to Scotland’s culture and conversation. The response from artists and audiences has been resoundingly uplifting, filled with a tangible energy pulling us closer together.
“We asked, ‘where do we go from here?’ – and we heard from thousands of people, sharing different perspectives from around the world. Now, we are confident in forging our path and deepening next year’s conversation together.”
In the 2023 International Festival 120,000 audience members found an in-depth and high-quality live experience across Edinburgh’s theatres, concert halls and venues. It was once again an unmissable destination for Edinburgh visitors looking to experience the highest quality arts and culture, with 13% of bookers being international, an increase of 3% on last year.
The International Festival also saw steady attendance from local audiences, with 69% of bookers coming from Scotland.
As part of the vision to broaden audiences, over 21,000 tickets were discounted to people eligible for concessions, including D/deaf and disabled people, arts workers, students and audiences aged under 26.
Over 11,000 free tickets were issued, including over 500 tickets for NHS workers and 631 tickets through the Young Music Pass scheme, which gives free tickets to young people to experience the best classical music from around the world.
The £10 on the Day ticket, available to people eligible for concessions, saw a pick-up of over 4,000 tickets, a 46% increase on last year.
The International Festival continued its year-round community engagement work during August, welcoming people of all ages and backgrounds to experience world-leading artists in locations across the city.
Culture Clubs returned to communities across Edinburgh, with intergenerational groups invited to enjoy a shared meal and attend a performance, including the first ever BSL Culture Club hosted by Deaf Action.
Pop-up performances brought music to audiences who otherwise might not have been able to attend, featuring the likes of the Simón Bolívar Symphony Orchestra of Venezuela, award-winning bassist and composer Endea Owens, and the London Symphony Orchestra, who performed for around 1,000 patients,hospitalstaff and visitors in NHS settings.
Thousands of people attended the Opening Fanfare weekend, an incredible feat of mass music-making, which assembled a diverse community of 500 amateur and professional musicians travelling from across Scotland to participate across two days in Princes Street Gardens.
The International Festival also reached more people than ever through digital channels, with content viewed 4.8 million times over the course of the 2023 Festival, an increase of 63% from 2022. In addition, 19 concerts were recorded live for broadcast on BBC Radio 3.
The Hub – the International Festival’s home at the top of the Royal Mile – was reimagined as a ‘festival green room, open to all’. The Hub welcomed thousands of visitors and invited them to collectively respond to the central question: ‘where do we go from here?’
An expansive programme of free talks and debates, participatory events and intimate concerts from incredible musicians spanning Scottish traditional music, jazz and classical ensembles brought artists and audiences closer than ever before.
An audience of 600 sat in beanbags surrounded by the Budapest Festival Orchestra – a format inviting audiences to experience both the music and the orchestra from the inside out, with conductor Ivan Fischer offering conversational explanations of Dvořák’s Eighth Symphony.
30 audio introductions were recorded by Nicola Benedetti with broadcaster Tom Service and artists from across the programme who gave insight and more context into specific performances and experiences. These reached 25,000 people, who listened as they were delivered by text message two hours before a performance. Over 32,000 people read blog articles which added further context.
To help audiences gain a greater appreciation of visiting companies and reduce the amount of travel required for international artists, high-profile artistic residencies included the London Symphony Orchestra under the direction of departing conductor Sir Simon Rattle, the Budapest Festival Orchestra with Ivan Fischer, and the world-renowned Simón Bolívar Symphony Orchestra of Venezuela reunited with their Music Director Gustavo Dudamel.
This year also saw a focus on opportunities for talent development and professional exchange. Twenty-two emerging dancers aged 18-25 from across Scotland had the chance of a lifetime to train with the Alvin Ailey American Dance Theater and perform in Memoria at the Festival Theatre.
Five pre-professional musicians were also invited to join the Mendelssohn Octet at the Hub, in an audition judged by Festival Director Nicola Benedetti. Plus, twelve Scotland-based dancers participated in a week-long collaboration with international peers performing in Pina Bausch’s The Rite of Spring that brought together 34 dancers from 14 African countries.
Francesca Hegyi, Chief Executive at Edinburgh International Festival, said: “August in Edinburgh is the time when the world’s spotlight turns to the Festival City, where residents can mix with their international counterparts and see artists they wouldn’t otherwise get the chance to.
“There has been a new warmth and spirit of inquiry to the Edinburgh International Festival this year and the feedback from audiences, artists and visitors has been nothing short of exceptional.”
Culture Secretary Angus Robertson, said: “This was a bumper year for Edinburgh’s summer festivals, distinguished by a strong contribution from home grown talent, and increased access to events through an expanded programme of community activities.
“Edinburgh’s festivals underline how important culture is to our way of life as well as underlining Scotland’s reputation on the international stage. I’d like to thank everyone involved for putting on such a fantastic line-up of performances and events this year.”
The Edinburgh Festival Fringe Society, the charity that supports the world’s largest performing arts festival, the Edinburgh Festival Fringe, and the biggest arts festival in the Southern Hemisphere, Adelaide Fringe are coming together to form an arrangement that will see both organisations amplify one another’s efforts for the benefit of artists and the international arts community.
Each organisation’s respective CEO will sign a Memorandum Of Understanding (MOU) that outlines the details of the arrangement on August 11 during this year’s Edinburgh Festival Fringe.
The MOU came to fruition from a collective belief between the Edinburgh Festival Fringe Society and Adelaide Fringe that organisations who share common objectives have the potential to positively influence the personal development of the Fringe festival artists and workers and thereby increase outcomes for each organisation.
The MOU will be signed by the South Australian Minister for Arts, Andrea Micheals MP and Scotland’s Culture Secretary Angus Robertson.
Culture Secretary Angus Robertsonsaid: “The Edinburgh Fringe is an inspiration to many festivals around the world and this formal agreement between the Edinburgh Fringe Society and the Adelaide Fringe is a fantastic initiative that will bring many benefits to both organisations.
“In particular the opportunity to share knowledge and skills, grow new audiences and provide platforms for performers will help the business development of both festivals.”
South Australian MInister for Arts, Andrea Micheals said: “This MOU brings together the wealth of talent, experience and creative ideas that exists in both Edinburgh and Adelaide Fringe Festivals.
“It represents the two largest festivals in the world joining forces to harness that extraordinary skill and create exciting opportunities for artists and arts workers to work at these two internationally renowned festivals and beyond.
“Adelaide is one of the world’s greatest festival cities and this partnership with the Edinburgh Festival cements our international reputation as the arts capital of Australia.”
The arrangement outlines details between the two festivals in the context of business, exchange and joint initiatives that will see Edinburgh and Adelaide Fringe festivals work to encourage the development of artists and their career trajectory and festival workers to the benefit of festivals internationally.
Each organisation will recognise their positions as major tourist attractions in their respective regions for both local, national and international travellers; and the benefits of working collaboratively in the development of skills for festival workers, along with the importance of business opportunities that are created at festivals via industry programs for artists to secure future bookings for their work.
Each partner is committed to the development of their staff, which will in part see the implementation of an exchange program between the two major festivals.
The MOU outlines a commitment from each party to promote one another’s Fringe festivals to artists while growing the audience-facing and industry-facing opportunities for artists participating in the festivals.
Director and CEO of Adelaide Fringe, Heather Croallsaid: ‘The establishment of this MOU is a momentous occurrence in the festival world.
“Fringe festivals are incubators for live performance and a testing ground for fresh ideas and new works, I’m sure the outcomes of this arrangement will ripple positively for artists and industry across the globe.”
Chief Executive of Edinburgh Festival Fringe Society, Shona McCarthy said, “Today is an exciting moment as we formalise a collective ambition to support each other across a range of areas.
“Our relationship with the Adelaide Fringe has developed over the last decade into a supportive and collaborative partnership, where we learn from each other and share our mutual challenges and opportunities.
“The signing of the MOU is just the beginning of what we know will be an extremely rewarding partnership for everyone involved in the festivals.”
Citadel’s Arts Group’s 12th foray into Leith Festival is an exploration of the atmospheric North Leith Burial Ground. Their playwrights workshop wondered what lies beneath Coburg Street and found a number of big characters interred in this small cemetery.
Seven members of Citadel’s group of older writers each chose to research the story behind one of the graves.
There are people whose achievements and eccentricities will be dramatized in a play, The Ghosts of North Leith. Using music, humour and poetry, the drama will raise awareness of this fascinating area of Leith history.
In the Coburg Street Burial Ground lies Lady Anne Mackintosh nicknamed the ‘Colonel’. Playwright Rhona McAdam explains she was drawn to her ‘as she seemed a strong, independent woman, taking part in the Jacobite Rebellion of 1745.
“Her husband, Sir Angus, chief of Clan Mackintosh, was a Captain in the government troops. Since he was unable, or unwilling, to raise the clan to fight for Bonnie Prince Charlie, Lady Anne did it instead.
“When the Jacobites won the Battle of Prestonpans, Sir Angus surrendered to his wife. After the Battle of Culloden, when the Jacobites were defeated, Lady Anne surrendered to her husband.’
Jim Brown took on the poet, Robert NicolI, heralded as the next Robert Burns. Jim said: ‘I became fascinated by Robert Nicoll because he was a poet, writer and radical newspaper man born in 1814, who packed so much into his short life. He died aged 23.’
No stone marks the burial place of 12-year-old Matilda Molesworth, but burial records indicate the spot. She features in the real-life story of the Trinity poltergeist. One of the collection of unexplained happenings in Catherine Crowe’s 1848 book “The Night Side of Nature“, it has popped up in anthologies of uncanny happenings ever since.
Another member of Citadel’s playwrights’ workshop, novelist Hilary Spiers explains: ” I’ve long been interested in the history of slavery in Scotland.
“While John Gladstones (buried in North Leith graveyard) and his grandson William Gladstone are better known, I felt John’s wife Nellie (who was known to be a very capable woman) might well have held views at odds with the men in her family. Women were a strong if largely unsung force in the abolitionist movement’.
Elaine Campbell came across the North Leith gravestone of three children and told us: ‘I was intrigued. Who were these three bairns so lovingly remembered?
“In the late eighteenth and early nineteenth centuries when the Millar children lived and died, infant mortality was ferociously high. Sadly all attempts to locate the children in church records proved fruitless.
“There were Millars living in Leith at the time. I have assumed Peter, John and Archibald were part of this extended, prosperous family of merchants. Although the “Three Cherubs” is my fictional account, I drew on historical material to describe their short lives and untimely deaths.
“By telling their story I hope to have given voice to the countless children who lie long forgotten in North Leith Graveyard’.
Was it chance or Divine intervention that led writers Carolyn and Brian Lincoln to the gravestone of the Rev. Dr. David Johnston? Previous attempts at finding the grave of this pillar of the North Leith community had proved fruitless.
The Lincolns were paying one last visit to the Coburg Street churchyard, when they noticed the letters D.D. poking through the moss. D.D. Doctor of Divinity. They scraped away some moss and there was the name. David Johnston (1735-1824) served the parish for nearly 60 years, a strong leader when Leith was seriously threatened by the ships of John Paul Jones, who supported the breakaway American colonies.
The play, which includes all these stories, and more, will be given a trial performed reading in North Leith Parish Church on 15 June. Citadel Arts Group seeks feedback from this first audience at Leith Festival with a view to staging a full performance of the play later in the year in the same venue.
North Leith Parish Church in Madeira Street welcomes Citadel Arts Group’s interest in the burial ground, and the church building which was to have been the keystone of Leith’s ‘New Town’.
Tim Bell told us: ‘I welcome the play as a chance for local and Edinburgh people to see this beautiful Georgian Church before it is released from the Church of Scotland estate in 2024’.
Venue: North Leith Parish Church, 51 Madeira Street EH6 4AU
Associated event: Hilary Spiers will lead a free guided tour of North Leith Burial Ground in Coburg Street on Monday June 12th at 2pm. Places are limited. Book from Liz Hare
Writers: Carolyn and Brian Lincoln, Jim Brown, John Lamb, Hilary Spiers, Elaine Campbell and Rhona McAdam.
Cast: Mark Kydd, Deborah Whyte, Chelsea Grace, Gregor Davidson, Dale McQueen.
Director: Liz Hare
Sound: Stewart Emm
Citadel Arts Group (SC 034687) is a Leith-based theatre company which specialises in creating new plays based on local stories, memories, and history.
Brian Eddington died last month at the age of 74 years. A North Edinburgh man through and through, he was born in Leith but spent most of his childhood and early years in West Pilton after his family were rehoused there (writes LYNN McCABE).
Brian lived in Drylaw for a number of years and then moved down to Muirhouse where he lived for more than 2 decades. He returned to Leith a few years ago when he was unable to return to his flat in Muirhouse after having part of his leg amputated.
Brian loved his community and was involved in many different groups, classes and local initiatives over the years. He was a creative person and found a second home in Muirhouse Festival Association (MFAC) where he developed a passion for community arts.
He was a member of the local drama group and was actively involved in the annual panto and gala. Brian was also involved in the Greater Pilton Print Resource (GPPR) (later Greater Pilton Design Resource/Source) and North Edinburgh News (the NEN), which provided so much rich source material for the Never Give Up project which Brian helped to produce along with fellow activists.
Brian had a passion for photography and history and he was able to bring together his local knowledge and his skills to document the ongoing changes and developments in Muirhouse which he witnessed first hand as a local resident. His photographs tell their own story about the process of regeneration and the impact this has had on his community.
In 2009, Brian joined North Edinburgh Social History Group along with Roberta Blaikie, Anna Hutchison, Brian Robertson and Ian Moore with a mission to record the history of activism in North Edinburgh.
Brian was a great person to have on board and relished trawling through 40 years worth of back copies of the Commune and the NEN and long forgotten photos, leaflets and posters which had been stored in dusty store cupboards and filing cabinets in local projects waiting for someone to find a use for them.
During the project, Brian was sufficiently movitated to get over his aversion to computers and managed to pick up some IT skills along the way which enabled him to access photographs of the area which had been digitalised by the Scotsman.
The project was a long hard slog and took 2 years to complete but the Never Give Up publication, exhibition and film gave Brian, the group and the wider community a great deal of pride in seeing their community accurately represented for a change.
It is an important piece of work documenting the rich history of North Edinburgh and the important role played by local people in their fight for social justice – a fight which continues until this day.
Following the launch of the Never Give Up project, Brian was involved in helping to establish a new adult education class called Power to the People : an introduction to the history of Protest in Scotland.
The class ran for a number of years and brought together new activists alongside people who had been involved in local and national politics. Inevitably perhaps, the focus of the class moved from studying politics and protest to actually doing it!
The Power to the People group were involved in many local issues over the years including cuts to local services and the campaign to stop the eviction of local families from their homes.
Brian’s love of history and politics continued until the end with his daily blog on facebook about important Scottish figures and events.
I’ll finish with a wee quote from Brian from the Never Give Up publication where he is talking about his time in Muirhouse drama group:
“We used to do street theatre about different issues. We did a thing about the poll tax where someone got arrested for not paying their poll tax. They got sent to a privatised jail.
“We basically done it any place where we could find people standing about. Folk thought it was hilarious. We handed out leaflets about the poll tax at the same time – that was the serious part of it. It was a good way to get across a serious message”.
Brian’s funeral service takes place this morning at 11.30 at Warriston Crematorium’s small chapel.
The Royal Opera House has announced its 2023/24 Season, unveiling a bold programme of thrilling new work, UK premieres and much-loved revivals, alongside the biggest national learning programme in our history, exciting new regional partnerships, and a host of daytime events, behind the scenes tours, exhibitions and artistic Insights at our home in the heart of Covent Garden.
The Royal Ballet Season
The Royal Ballet presents a tapestry of works that celebrate the Company’s rich heritage and celebrated house choreographers, and brings creativity into spaces across the Royal Opera House with a Festival of New Choreography. The Season features revivals from Frederick Ashton and Kenneth MacMillan alongside contemporary classics by Wayne McGregor, Christopher Wheeldon and Cathy Marston.
The Company’s illustrious legacy from Founder Choreographer Frederick Ashton and Principal Choreographer Kenneth MacMillan is marked in a number of productions. Ashton’s boundless invention is displayed in two mixed programmes, with The Dream and his virtuosic Rhapsody. One of these programmes also features Les Rendezvous while the other includes Five Brahms Waltzes in the Manner of Isadora Duncan, Hamlet and Ophelia, and a guest performance by The Sarasota Ballet of The Walk to the Paradise Garden.
The Sarasota Ballet will also demonstrate the genius of Ashton in the Linbury Theatre with a vibrant array of his creative output. The Royal Ballet and The Sarasota Ballet’s Ashton performances during the Season mark the opening of ASHTON WORLDWIDE, the Frederick Ashton Foundation’s five-year international festival conceived to celebrate the work and legacy of Frederick Ashton. Further information on the festival will be announced by the Foundation in due course.
Kenneth MacMillan’s dramatic flair is celebrated with the romantic tragedy Manon, which this Season celebrates its 50th birthday, and a mixed programme – Requiem, Danses Concertantes and Different Drummer – plus performances and a film premiere by Yorke Dance Project, illustrating the choreographer’s exceptional artistic development across the decades.
In other revivals, Carlos Acosta’s vibrant production of Don Quixote opens the Season for The Royal Ballet. This celebrated production, which premiered in 2013, is the perfect showcase for a Company dancing at its peak. The enduringly popular 19th-century classics The Nutcracker and Swan Lake will also feature in the Season.
Royal Ballet Resident Choreographer Wayne McGregor’s The Dante Project returns following its critically-acclaimed world premiere in 2021. Inspired by Dante’s Divine Comedy, the afterlife is brought into blazing life through the poetic vision of McGregor and his creative team, including pioneering composer Thomas Adès and artist Tacita Dean.
Artistic Associate of The Royal Ballet Christopher Wheeldon’s adaptation of Shakespeare’s late romance The Winter’s Tale celebrates its 10th anniversary. With striking designs by Bob Crowley and atmospheric music by Joby Talbot, The Winter’s Tale is widely considered a modern ballet classic.
Two award-winning works, Cathy Marston’s The Cellist, which takes its inspiration from the life and music of Jacqueline du Pré, and Valentino Zucchetti’s breezy Anemoi, receive their first revivals in a mixed programme of powerful musical heft.
The Festival of New Choreography champions new and diverse choreographic voices through the many spaces of our iconic Covent Garden home. A collection of new work will be seen on the Main Stage, and also included is an immersive new work for The Royal Ballet by Robert Binet presented in the Linbury Theatre and co-produced by the National Ballet of Canada.
The Royal Ballet presents the world premiere of a new production in the Linbury Theatre adapted from the play Lemons, Lemons, Lemons, Lemons, Lemons by Sam Steiner. The Limit combines spoken word and dance with choreography by Royal Ballet Principal Character Artist Kristen McNally and direction by Ed Madden and features Royal Ballet Principals Francesca Hayward and Alexander Campbell in one of the casts. The Limit is set to a newly commissioned score by Isobel Waller-Bridge, who composed the score for the BBC series Fleabag as well as film scores for Vita and Virginia (2018) and Emma (2020).
We look to the future with our continued development of emerging creative and performing talent with Draft Works, International Draft Works and the Next Generation Festival. The Royal Ballet continues its long-standing commitment to fostering dance partnerships, with Northern Ballet, Fallen Angels Dance Theatre, Ballet Black and Sydney Dance Company in the Linbury Theatre.
Fallen Angels Dance Theatre make their Linbury Theatre debut. Led by Artistic Director Paul Bayes Kitcher, former Birmingham Royal Ballet soloist, the award-winning company supports those recovering from addiction and mental health adversity through dance, performance and creativity. This work marks the first collaboration between Fallen Angels and New Note Orchestra, a Brighton-based collective of 18 musicians in recovery.
Northern Ballet return to the Linbury Theatre with a programme of new contemporary ballet, including the premiere of a new work by Royal Ballet Soloist Benjamin Ella and a work by New York City Ballet Principal Tiler Peck.
INTERNATIONAL DRAFT WORKS_LINBURY THEATRE_ROH,
Canto De Ossanha_choreography; Joshua Junker, The Royal Ballet,
Ballet Black present a double bill featuring Will Tuckett’s Then or Now and Mthuthuzeli November’s Nina: By Whatever Means, a tribute to Nina Simone. Yorke Dance presents a new programme including work by Robert Cohan, Martha Graham and Kenneth MacMillan, and Sydney Dance Company make their Linbury Theatre debut.
On Wednesday 1 November, World Ballet Day, a much-loved global celebration that brings together over 50 of the world’s leading ballet and dance companies, celebrates its tenth anniversary. Over the course of 24 hours, rehearsals, discussions and classes are streamed for free across six continents, offering unique behind-the-scenes glimpses of ballet’s biggest stars and exciting new performers.
Director of The Royal Ballet, Kevin O’Hare, said: “As we approach next Season, we are thrilled to showcase the extraordinary artistry and skill of our brilliant dancers and orchestral performers in a fantastic range of heritage and award-winning contemporary classics.
“We also look forward to the creative energy that the Festival of New Choreography will bring to the whole of the Royal Opera House, and to continuing to spread the love of ballet through our far-reaching global and UK-wide partnerships. We can’t wait to welcome back existing audiences and to connect with those new to the art form.”
The Royal Opera Season
The Royal Opera opens its Season with two landmark works on both of our stages. On the Main Stage, Antonio Pappano partners with Barrie Kosky for the first time to conduct a bold new imagining of Wagner’s first chapter of the Ring cycle, Das Rheingold – a massive undertaking for any opera house with an outstanding cast including Christopher Maltman as Wotan and Christopher Purves as Alberich.
In the Linbury Theatre, George Benjamin and Martin Crimp bring us Picture a day like this – a major new work which receives its UK premiere following the world premiere this summer at the Festival d’Aix-en-Provence. After the historic success of Lessons in Love and Violence and Written on Skin, Benjamin and Crimp return alongside stage directors Daniel Jeanneteau and Marie-Christine Soma.
Antonio Pappano, whose first new production at the Royal Opera House was Christof Loy’s production of Strauss’ Ariadne auf Naxos in 2002, conducts his last new production at the Royal Opera House in Loy’s eagerly anticipated adaptation of Strauss’s Elektra – uniting two of today’s leading dramatic sopranos: Nina Stemme in the title role, and Karita Mattila as the haunted queen Klytämnestra.
In May, a Farewell Gala Concert for Antonio Pappano will see a stellar cast of soloists perform alongside the Chorus and Orchestra in celebration of his 23-year tenure. Maestro Pappano will then lead a cast that includes his longtime collaborator Jonas Kaufmann, and Sondra Radvanovsky and Carlos Álvarez in a revival of David McVicar’s lavish production of Giordano’s Andrea Chénier.
In June 2024, The Royal Opera is delighted to be returning to Japan on tour for the first time since 2019 with performances at Bunka Kaikan Theatre and NHK Hall in Tokyo, and Kanagawa Kenmin Hall in Yokohama. Antonio Pappano will be conducting spectacular casts in Oliver Mears’s darkly elegant production of Verdi’s Rigoletto and Andrei Șerban’s classic staging of Puccini’s Turandot.
The Royal Opera’s exploration into Handel’s Covent Garden operas and oratorios continues with his final masterpiece, Jephtha, which premiered on this site in 1752. This epic new production is staged by Director of The Royal Opera Oliver Mears and is conducted by Handel specialist Laurence Cummings. Extraordinary tenor Allan Clayton performs the title role, joined by an outstanding, largely British cast including Jennifer France, Alice Coote and Brindley Sherratt.
Aigul Akhmetshina and Vasilisa Berzhanskaya share the role of Carmen in Damiano Michieletto’s poetic, contemporary new staging of Bizet’s beloved Carmen. Antonello Manacorda and Emmanuel Villaume conduct two accomplished casts in this sultry new production which evokes the passion and heat of Bizet’s score.
Next Season, the Royal Opera collaborate with Fuel for the first time, presenting the world premiere of Woman & Machine – a ground-breaking binaural opera experience from Mercury-nominated songwriter ESKA, directed by Kirsty Housley. Incorporating the sonic worlds of the neonatal unit and the womb, with influences of contemporary, electronic and Zimbabwean Shona Music, this new work connects themes of life, survival and womanhood.
This Christmas, a range of family favourites return to our stages. Little Bulb’s Oliver award-winning Wolf Witch Giant Fairy will excite children and families in the Linbury Theatre with the original troupe of travelling players returning as the energetic ensemble cast, bringing this endearing folk opera to new audiences, young and old.
On the main stage, music lovers of all ages can enjoy Antony McDonald’s mischievous production of Humperdinck’s Hansel and Gretel, newly translated into English by Kelley Rourke. Mark Wigglesworth conducts two stellar casts including Anna Stéphany, Hanna Hipp, Anna Devin and Lauren Fagan.
Following the Irish National Opera’s (INO) Olivier award-winning Bajazet and Least Like The Other, INO and The Royal Opera present their third collaboration: a brand-new staging of Vivaldi’s 1734 opera, L’Olimpiade. The production is directed by Daisy Evans, with conductor Peter Wheelan leading the Irish Baroque Orchestra.
In April, the Jette Parker Artists present a thrilling double-bill. Eleanor Burke directs Martinů’s surreal one-act opera Larmes de couteau and Harriet Taylor directs John Harbison’s adaptation of text from W.B. Yeats’ Full Moon in March. Both works are conducted by Edward Reeve, who will lead the Britten Sinfonia.
The 2023/24 Season also features a raft of beloved revivals including Christof Loy’s La Forza del Destino, Laurent Pelly’s L’elisir d’amore, Oliver Mears’s Rigoletto, Damiano Michieletto’s heat-soaked double-bill Cavalleria rusticana/Pagliacci, Richard Jones’ production of La bohème, Jonathan Kent’s Tosca, Tim Albery’s production of Wagner’s The Flying Dutchman, Moshe Leiser’s and Patrice Caurier’s Madama Butterfly, Katie Mitchell’s production of Donizetti’s Lucia di Lammermoor, and Jan Philipp Gloger’s production of Così fan tutte.
Director of The Royal Opera, Oliver Mears, said: “Despite opera in the UK being under pressure as never before, The Royal Opera is determined to mark Antonio Pappano’s final season as Music Director with ambition and style across our diverse output.
“We embark on the mammoth task of a new Ring cycle directed by Barrie Kosky, produce eight thrilling new productions across both our stages, continue our Covent Garden Handel odyssey, and – as we have for three hundred years – present the very finest singers and conductors working in the world today. This will be a season our audiences will love – and a fitting final bow for one of our most treasured ever colleagues.”
Royal Opera House across the UK
The Royal Opera and The Royal Ballet present 13 productions in 1500 cinemas across the globe next Season, including such beloved classics as Swan Lake and The Nutcracker and exciting new productions of Carmen, by Damiano Michieletto and Das Rheingold, by Barrie Kosky.
Message In A Bottle, the acclaimed dance theatre production by Sadler’s Wells Associate Artist Kate Prince, set to the music of Grammy Award-winning artist Sting, has also been filmed for cinema release in May 2024, in partnership with Sadler’s Wells and Universal Music UK. The international refugee crisis is at the centre of this production – an imagined story about one displaced family, and a universal story of loss, fear, survival, hope and love. Songs including ‘Every Breath You Take’, ‘Roxanne’, ‘Every Little Thing She Does Is Magic’ and ‘Fields of Gold’ feature in new arrangements.
This is on top of wider digital innovation as we make available 24 more productions on ROH Stream. These will include work from Wayne McGregor, and Joseph Toonga’s See Us, as well as The Royal Ballet’s new production of Cinderella. These will be supported by a raft of new behind-the-scenes films, interviews and performances, including a celebration of Antonio Pappano’s tenure as Music Director of The Royal Opera; a host of choreographic and vocal masterclasses; and exclusive World Ballet Day content, with rehearsals and insights from across its rich ten-year history.
We also announce our biggest, boldest and most impactful national learning programme to date, inspiring creativity of children and young people across the country. Our flagship Create & Learn programmes drive this national output, which sits alongside industry-leading talent development projects, a new partnership in South Yorkshire, with Rotherham, and a raft of daytime events, family activities and free concerts in our Covent Garden home.
In July, we unveil our first ever national Create Day, connecting more than 2,000 children across four locations around the country: Coventry, Doncaster, Thurrock and Covent Garden. Large scale events, connected via live broadcast, take place in each location and see participants perform pieces inspired by Crystal Pite’s Light of Passage, the culmination of months of work in schools around the UK. This will be expanded still further in 2024, with every school in the country being invited to take part, making it the largest shared cultural schools project ever hosted in the UK.
In Rotherham, we work with local partners to deliver a programme of activity with the aim of reaching every primary school in the region. The programme gives pupils aged 5-11 access to curriculum-linked lesson plans, in school workshops, the chance to see live performances at the Royal Opera House, and to participate in large-scale performance opportunities locally.
It features a collaboration with the Rotherham Music Service on a performance at Magna Science Adventure Centre in June 2024, with more than 1,400 primary school children performing alongside artists of the Royal Opera House in a unique celebration of art, learning and participation. The programme intends to support the creative confidence of teachers and young people in the run up to Rotherham being the first Children’s Capital of Culture in 2025.
Following on from the great legacy of ROH Bridge, we also launch ROH East, a dedicated new programme which works in Levelling Up for Culture schools across the East of England, building confidence of teachers and inspiring creativity of young people across Essex, Hertfordshire, Bedfordshire and North Kent. We also celebrate the tenth anniversary of Thurrock Trailblazer, which has delivered arts initiatives to almost 100,000 children and young people in 57 schools across the region to date.
At home in Covent Garden
Following this Season’s programme of work in support of Ukraine and those displaced by the war, we continue to work with the displaced Ukrainian community inspiring hope through the collective act of singing. This builds on work undertaken across the 2022/23 Season with the Ukrainian community in London. This included the Songs for Ukraine project, as well as dedicated performances from both The Royal Ballet and The Royal Opera, which helped to raise £450,000 for Disasters Emergency Committee’s Ukraine Humanitarian Appeal.
Young ROH goes from strength-to-strength in its third year, with 10,000 tickets made available to 16–25-year-olds for just £30. The scheme has helped attract younger audiences, which now make up the single largest audience group at the Royal Opera House. This programme sits alongside six whole house Schools’ Matinees, offered at a heavily discounted rate to state school children, and the Paul Hamlyn Christmas Treat, offering a specially-invited audience the chance to see The Nutcracker in our first ever relaxed performance on the Main Stage. We will welcome more than 10,000 young people up and down the country as part of this project.
147 events take place in Covent Garden including 16 free Live at Lunch performances and 40 Insights, offering a unique behind-the scenes look at our resident companies. Many of these are broadcast online for free. We also unveil our biggest programme of guided tours to date, offering 11 unique behind-the-curtain experiences which promise to build on the more than 50,000 tour guests we welcomed last Season. This includes high teas, a look at our second home at the High House Production Park in Thurrock, and curated histories of the Royal Opera House through the lens of Pride and International Women’s Day.
We unveil a host of thought-provoking free exhibitions and displays throughout next Season which bring our spaces to life and invite audiences to delve deeper behind the scenes. These include a celebration of the huge talent that was Maria Callas, celebrating the centennial of her birth, and a dedicated exhibition by photographer Mary McCartney who captured exclusive behind the scenes images of Wayne McGregor’s critically acclaimed ballet The Dante Project. There will also be commemorative displays of beautiful historical costumes including a celebration of the centenary of Nicholas Georgiadis who designed sumptuous costumes for Kenneth MacMillan ballets including Manon and Mayerling.
Nurturing Talent
We continue our efforts to offer new projects that develop future talent and drive diversity across both of our art forms and the industry. Following the success of our Pilot Orchestra Mentorship programme in 2022/23, we launch ‘Overture’ in partnership with Black Lives in Music, continuing to work with young musicians aged 18-25 from the global majority or other underrepresented backgrounds to provide essential mentoring tailored to the participants’ individual needs while enhancing skill sets, insight and training in the classical music field.
Over the Season, we run six more Creative Exchanges with community groups around London, providing a creative space for Royal Opera House artists and external participants to come together, share their experiences and create their own work inspired by ballet and opera stories.
Chance to Dance, our flagship programme aimed at giving primary school children from areas with limited artistic provision their first opportunity to engage creatively with ballet, expands to include five areas, and the Youth Opera Company, our in-house chorus of 50+ state school children, perform in two main stage productions: Cavalleria rusticana/Pagliacci and Carmen.
The Jette Parker Artists recruit an additional seven international artists to take their first steps on the international stage; and we welcome our biggest ever cohort of apprentices (15) into a range of departments across the organisation- including roles in costume, lighting, technical and production, IT, and marketing.
The Cellist_The Royal Ballet, ROH Covent Garden,
Choreography: Cathy Marston ,
The Cellist; Lauren Cuthbertson,
The Conductor; Matthew Ball,
The Instrument; Marcelino Sambe
Scenario; Cathy Marston and Edward Kemp,
Music;Philip Feeney,
Designer;Hildegard Bechtler,
Costume designer;Bregje van Balen,
Lighting designer; Jon Clark,
Alex Beard, Chief Executive of the Royal Opera House, said: “I am delighted to introduce our extraordinary 2023/24 Season – a Season packed with bold and exciting new work and much-loved revivals, alongside the biggest and most impactful programme of national learning work in our history.
“We make full use of our iconic Covent Garden home with a full schedule of daytime events, tours, exhibitions and artistic insights, and continue to secure the future of ballet and opera with our ongoing programme of talent development and innovative creative partnerships.”
Join us in person, watch in cinemas, via ROH Stream, or experience our work through programmes country wide. Tickets are from £9 across the Season.
A fund that connects visionary culture organisations with business sponsorship opportunities will open for its seventh round of applications this month.
Managed by the charity Culture & Business Scotland and supported by the Scottish Government, the fund will provide backing of up to £12,000 each to as many creative organisations as possible ranging from grassroots initiatives to established cultural events.
When distributing funds, Culture & Business Scotland also account for an organisation’s ethical and environmental credentials, with a focus on supporting organisations which have implemented Fair Work policies, incorporated carbon neutral plans and embedded equality, diversity, and inclusion into their activities.
Many organisations and businesses have benefited from this fund in the past. A significant beneficiary of the Culture & Business Scotland fund is Edinburgh-based theatre company Vision Mechanics, which used that investment to lever funds from A.T. Best Handlers Ltd in 2019, enabling the creation of Scotland’s largest puppet.
Made from recycled materials, the puppet, known as ‘Storm’, undertook a tour of the country to raise awareness of marine pollution and the urgency of caring for the environment.
The project culminated in the appearance of Storm at Cop26. As well as this, the project addressed community and social empowerment and equalities, diversity and inclusion and also generated significant local cultural tourism benefits.
For the business, it met a number of external facing business needs, such as image enhancement, business and brand awareness, marketing, but also addressed internal business aspirations, including staff relations and development and creative development.
Tommy McCormick, Culture & Business Scotland Fund Manager, said: “Since its launch, the Culture & Business Fund has helped to forge impactful relationships between culture organisations and businesses, with powerful and innovative results.
“We are delighted to reopen the fund for a seventh year, extending opportunities to a wider range of organisations and providing creatives with the resources to bring their artistic visions to life.”
Vision Mechanics, the organisation behind the Storm puppet, added: “We could not have made Storm without this sponsorship. It was a nail-biting budget and this deal made it possible.
“The additional funding from CBFS was essential. If it had not been available, we might have had a telehandler, but perhaps not been able to build the puppet.”
Since its inauguration in 2017, the fund has enabled over 200 projects across Scotland to transform their artistic and creative visions into reality.
Over £1.2 million of funding has been awarded so far to creative projects across the country, from Grampian Art Hospital Trust in the north to Dumfries and Galloway Art Festival in the south.
The fund serves Culture & Business Scotland’s commitment to facilitating meaningful connections between the culture and business sectors, creating the possibility for businesses to sponsor creative projects with vision and scope.
