In that submission, we stated the following regarding our Grant in Aid budget from the Scottish Government for 2023/24:
“While we welcomed the Scottish Government’s decision in February 2023 to reverse the 10% cut to our Grant in Aid Budget which was originally announced in December 2022, it should be noted that the £6.6m this cut related to has not yet been confirmed in Creative Scotland’s budget.”
We are extremely disappointed to report that the £6.6m budget has not been included in the Autumn Budget Revisions.
This has been confirmed in writing by the Cabinet Secretary for Culture, Angus Robertson, in a letter to our Chief Executive, Iain Munro on 20 September.
This relates to Grant-in Aid funding that we receive from the Scottish Government and that we use to support 119 cultural organisations across Scotland through Regular Funding.
Given the extensive messaging and advocacy regarding the pressures on culture budgets and risks to the culture sector that we, and many others have been making, this is a concerning development.
To address this reduction, the Creative Scotland Board agreed on 27 September, to use £6.6m of our National Lottery reserves to prevent us having to pass it on to the Regularly Funded Organisations, especially given the next payments are due in 2 weeks’ time.
Whilst the unprecedented pressures on public finances are understood, we are disappointed that the Scottish Government has taken this decision. However, Creative Scotland is acting swiftly and pragmatically to help stabilise the situation in the short term.
This step of using our National Lottery reserves in this way will only happen once. The budget for 2024/25 will not be decided by the Scottish Government for some months yet but should the Scottish Government choose to sustain this reduction, we will require to pass it on to the sector.
Creative Scotland appeared before the Culture Committee at the Scottish Parliament on yesterday (Thursday 28 September) to give evidence as part of the Committee’s ongoing inquiry into culture budgets in Scotland.
David Watt, chief executive of Culture & Business Scotland, said: “At a time when Scottish Government ministers repeatedly speak about the importance and value of culture to our society and economy, the reinstatement of the £6.6M cut to Creative Scotland’s annual budget for the current year is unfathomable.
““Just yesterday (Thursday September 28), I, alongside other cultural representatives, gave budget evidence to the Constitution, Europe, External Affairs and Culture Committee to hopefully ensure that this shortsighted budget decision does not extend into the 2024-25 budget for culture settlement.
“Investment in culture is essential for society, local communities, tourism, the economy and Scotland’s international reputation. The ongoing challenges of the legacy impact of Covid, Brexit and the cost-of-living crisis, are very real, with many arts and culture organisations operating on a knifes edge.
“These issues are exacerbated as the majority have a lack of unrestricted reserves and continue to struggle to build these up due to slow growth in ticket sales and increased overheads due to high energy prices.
“A reduction in public funding will rapidly increase the firefighting our culture organisations and venues are facing against challenge after challenge. If this budget pattern continues, with little opportunity to ensure future sustainability, there will be an inevitable shrinkage of the culture sector, and the economic and social impact of this will be significant for us all.”
As part of the Autumn budget review, the Scottish Government has re-instated a 10% cut to Creative Scotland’s 2023-24 annual budget (totaling approximately £6.6m), which following mass campaigning from the cultural sector, was overturned earlier this year (writes SMIA Interim CEO and Creative Director ROBIN KILPATRICK).
As the organisation which exists to strengthen, empower and unite Scotland’s music industry – representing a diverse membership of over 4,000 people working across all music genres and industry subsectors – we’re compelled to highlight the devastating impact of this decision; not just to music and culture, but to Scottish society at large.
The cut directly relates to the funding allocated to support Creative Scotland’s Regular Funding Network, comprising 119 cross-artform organisations (RFOs) that are structurally integral to both supporting and delivering Scotland’s cultural output. The SMIA is one of them.
In the short-term (for the rest of this financial year), Creative Scotland has had to divert to utilising National Lottery reserves to plug the gap and prevent the cuts from being passed on to members of the RFO network.
If this hadn’t been the case, in two weeks’ time when the next RFO funding payments are due, each of the 119 organisations would, in effect, have received a ~40% cut to projected funding.
In the SMIA’s case, this would have been two weeks ahead of the Scottish Album of the Year (SAY) Award Ceremony, and would have put the delivery of Scotland’s national music prize at significant risk.
The cut would have again been replicated in January at the next (and final) RFO payment for this financial year, which in the case of many organisations, would have meant the end. Whilst immediate disaster has been avoided, the use of Creative Scotland reserves at this stage means that they are now significantly depleted for what was their intended purpose.
Last month, Creative Scotland highlighted that over 500 cultural organisations stated their intention to apply for Multi-year funding; a new funding scheme that will replace the current Regular Funding one. From the intentions to apply, the indicative annual request was in excess of £113m – far exceeding what Creative Scotland expects to have available.
Inevitably, this means that Creative Scotland will not be able to support as many organisations on a multi-year basis as they currently do, and the application process will be highly competitive. Causalities are expected and imminent. Cultural organisations across all art forms are worried about their future, and the reserves that Creative Scotland has had to use now means that there’s far less available transitional funding for unsuccessful applicants.
Whilst the future for Scottish culture was looking bleak, there was at least some hope that organisations that are unsuccessful in securing Multi-year Funding would have some time to remain operational, pivot their business model and potentially find an alternative way forward. With Creative Scotland’s reserves now depleted, many unsuccessful organisations will soon vanish from the fabric of our cultural landscape, and with them, many creative opportunities and a significant part of our cultural identity as we know it today.
RFOs have been on stand-still funding since 2018. In the face of high inflation, rising interest rates, cost of living challenges, issues around staff retention and recruitment, the impact of Brexit, the legacy of Covid and a whole myriad of broader problems currently facing our sector, for Creative Scotland’s budget cut to have been re-instated, the future of music and culture in Scotland is now at significant and immediate risk. The foundations upon which it supported are being eroded at an increasingly alarming rate, and unless intervention is made by the Scottish Government, it will have impacts for decades to come.
Outwith the significant economic contribution that music makes to Scotland’s economy (£581m through music tourism alone in 2022, as noted in UK Music’s ‘Here, There And Everywhere’ report – and this is only based on events with 1500+ capacity), it’s important to remember that the value generated by the sector far extends an economic one.
With the Scottish Government has stated that they’re committed to building a well-being economy – which serves and prioritises the collective well-being of current and future generations – it’s fundamental to highlight just how intrinsic music and culture are to achieving that vision.
Culture is our identity; it’s how we see ourselves, how we see our place in the world and how we relate to others. It’s the stories of life in Scotland, and it underpins mental well-being – both collectively and individually – in many different ways. The silences that echoed across 2020 as live music vanished from our lives serve as a firm reminder of this. Unless intervention is made now, we’ll be lucky if there are whispers in the years to come.
We urge the Scottish Government to recognise the desperate situation of a vitally important sector; economically, socially and culturally. It’s essential that Creative Scotland has the resources to both support and preserve it.
Robert Kilpatrick – Interim CEO and Creative Director, Scottish Music Industry Association (SMIA)
CAMPAIGN FOR THE ARTS
The Scottish Government is breaking its promise on arts funding.
In February, thousands joined our campaign against plans for a £6.6 million cut to Creative Scotland, the public body responsible for investing in Scottish arts and culture. Ministers responded by abandoning the cut and instead heralded a “£6.6 million uplift … supporting the arts and cultural sector at this challenging time”.
But seven months on, the £6.6 million pledged to Creative Scotland hasn’t been delivered. And now the Culture Secretary Angus Robertson has told them that it won’t be.
This extraordinary short-changing of Scottish culture midway through the year has forced Creative Scotland to raid its limited reserves as a one-off, emergency measure. Otherwise, regularly funded arts organisations in Scotland would have seen their funding cut by as much as 40% as soon as next month.
This is absolutely no way to treat Scotland’s arts and culture, let alone in a perfect storm of economic pressures and post-pandemic challenges. This ‘U-turn on a U-turn’ puts treasured venues and companies, thousands of jobs and access to Scottish culture at risk.
We urge the Culture Secretary Angus Robertson to:
Honour the Scottish Government’s commitment in February to provide “an uplift of £6.6 million for Creative Scotland for 2023-24″.
Scrap any proposal to cut Creative Scotland funding from the 2023-24 Autumn Budget Revision.
Commit to maintaining and increasing investment in arts and culture from 2024-5, for the benefit of everybody in Scotland.
The SNP’s 2021 manifesto said “culture is central to who we are as a nation”, and that “the pandemic has demonstrated more than ever how vital it is to our wellbeing, mental health and sense of belonging”.5
But Scotland’s cultural sector has not fully recovered from the pandemic, during which it was one of the hardest-hit sectors. For many, incomes have fallen and reserves have dried up. Now, in the middle of a cost-of-living crisis, costs are rising and uncertainty is rife. This is not the time to cut vital, core funding on which artists and organisations depend.
Economic pressures have already led to the permanent closure of the Filmhouse cinemas in Edinburgh and Aberdeen, the Blue Arrow Jazz Club in Glasgow and the Nevis Ensemble, which worked across the country. We cannot afford to lose any more arts organisations – or the benefits they bring to our lives, communities and society
Creative Scotland’s 120 Regularly Funded Organisations (RFOs) directly employ 5,000 workers, support 25,500 individual artists and provide millions of opportunities for people across Scotland to engage with the arts and culture.
Of these, Edinburgh-based arts organisations include:
(Organisation – Art form– Average annual grant)
Arika – Multi – £200,000
Arts and Business Scotland – Creative Industries – £200,000
Three former EDA pupils return to Edinburgh for UK tour of Romeo and Juliet
Three aspiring Edinburgh dancers who landed dream roles with the internationally-renowned New Adventures Dance Company are back in the capital this week as cast members of the group’s production of Romeo & Juliet.
The local performers, Rory McLeod, Carla Contini, and Leonardo McCorkindale, all former pupils of leading dance school Edinburgh Dance Academy (EDA), are performing in the Scottish capital this week as part of the show’s international tour.
The Scottish trio have all been recruited by the iconic and ground-breaking New Adventures, set up by one of Britian’s most innovative choreographers, Sir Matthew Bourne.
22-year-old Rory joined the company in 2021 after attending Laine Theatre Arts dance school in Surrey and made his cameo appearance in New Adventure’s Nutcracker! in April last year.
Meanwhile, Leonardo, aged 20, and Carla (19) were taken on by the company earlier this year after graduating from Tring Park School for the Performing Arts in Hertfordshire. Their performance in Romeo and Juliet, which is currently on a UK tour before moving on to Europe and the US early next year, marks their New Adventures debut.
New Adventures has received numerous international awards and has won six Olivier Awards which recognise excellence in London’s professional theatre circuit. The company’s repertoire has inspired and thrilled millions of people worldwide.
During their five-day at the Festival Theatre, the three Edinburgh dancers were reunited with EDA’s Julie Mitchell and Jenny Inglis, both of whom were former dance teachers to the trio while they were growing up in the city.
Julie Mitchell said: “We are so delighted with the progress of our three former pupils, who are now part of this international production being staged by one of the world’s leading dance companies.
“While Rory, Carla, and Leonardo all developed their dance talent as youngsters, it has been their drive and commitment that has led them to becoming part of Matthew Bourne’s prestigious New Adventures company.
“We’ve very proud of all three and we wish them every success with their careers going forward.”
Brand new multi-million pound campus in Livingston opens its doors
ONE of Scotland’s largest centres of performing arts is putting its best foot forward as it ushers in the new era of students with the opening of its brand new campus.
The purpose-built 30,000 sq ft campus in Livingston will see MGA Academy of Performing Arts to triple its student intake to more than 500, extend its educational programme to 11 BA degrees, and two post-graduate Masters degrees, and house 18 state of the art studios.
The new campus based in the former tax office in Almondvale, Livingston, received a multi-million pound investment and will feature Scotland’s largest sprung dance floor which spans 347 sq ft.
Established in 2005 to address a demand for an innovative performing arts academy outside of London, has produced a wealth of talented graduates who have appeared in studios, on stage and on screen in major productions.
Giles Auckland Lewis, Chief Executive of The MGA Academy, said: “It’s a very exciting time for the academy as we open the doors of our brand new campus. There has been a great buzz with new and returning students as they explore all the exceptional facilities.
“Being part of this chapter of the academy’s story has been incredibly rewarding, and as we’re now located almost exactly half way between Edinburgh and Glasgow it’s much more convenient for students and staff.
“We’ve worked hard to ensure the new campus can offer our talented students to advance their skills in singing, dancing and acting and become the stars we know they are.”
Included in the new campus is seven rehearsal studios for acting and musical theatre, seven fully sprung dance studios, four singing rooms and a TV production suite. Other features include a student welfare and physiotherapy room, a learning resource centre and library, IT suites, study areas and a cafe and social areas, as well as 130 parking spaces.
The MGA Academy campus in Balgreen will remain part of the academy’s footprint becoming a hub for junior age groups.
Mr Auckland-Lewis added: “The new campus in Livingston is truly state of the art, we’re in a great position to continue to develop our reputation as a leading international competitor to the world’s most successful arts education institutions.
“The platform we’re providing for aspiring performers allows them to remain in Scotland while studying at a level equivalent to other prestigious UK colleges. We also now have the ability to attract even more students and world class tutors from across the world.”
The MGA Academy is approved by the Scottish Qualifications Agency, the Imperial Society for the Teachers of Dance, and is Scotland’s only fully accredited college with the UK’s Council for Dance, Drama and Musical Theatre.
Graduates from The MGA Academy have gone on to star in West End and TV productions such as Gossip Girl, Wicked, Frozen the Musical and Shrek the Musical.
Learn more about The MGA Academy and how to enrol for courses here:
Dance Base Scotland and Edinburgh International Festival have announced the 24 dance artists taking part in an Artistic Development Week this month.
Hailing from across Scotland and eight African countries, the dancers will come together at Dance Base in Edinburgh to connect, collaborate, and network with their international peers. Expertise in dance disciplines range from contemporary to hip-hop, Bhuto, to Indian classical dance.
Supported by the British Council, the development programme will take place in the run-up to the significant performance of Pina Bausch’s The Rite of Spring / common ground[s] in August.
A highlight of the Edinburgh International Festival, the performance marks the first collaboration between the Pina Bausch Foundation (Germany), École des Sables (Senegal) and Sadler’s Wells (UK).
The artistic development week will be led by Artistic Director of Dance Base, Tony Mills and will focus on daily classes and work in small groups where the participants can take part in reflections and conversations with a focus on creation and artistic devising.
The aim of the project is for the Scottish and international artists to connect and share practice, opening themselves to new techniques and creative approaches. They will have the opportunity to network with national and international peers and to create work together.
Amy Robertson, a dance artist from Edinburgh and one of the twelve Scottish participants is delighted to be involved in the international festival. She said: “Learning and sharing practice on international platforms is such a valuable part of our development and I’m really looking forward to all that comes out of this week.
“With a lot of work being made in smaller constellations of artists, working with 12 colleagues from across Scotland and artists from wider international communities is sure to be a rich and valuable experience for all involved.”
Also from Scotland, dance artist Suzi Cunningham adds:“This is an incredible opportunity to connect people from across continents and to learn from the artistry and passion of others.
“I am extremely excited about making new connections and having this opportunity to truly dance without limitations, and in ways I don’t allow myself or don’t usually seek out in my practice”.
Speaking ahead of the development week, Tony Mills, Artistic Director for Dance Base said about the collaboration:“We are beyond excited to be able to host 24 artists from Scotland and across Africa as part of a collaboration with Edinburgh International Festival and their professional artist development programme.
“Dancers who will be performing as part of the Ecole des Sables & Sadler’s Wells production of the Rite of Spring, will meet and connect with a range of Scottish dance artists to share practice and build relationships for one week.
“This is a unique moment that will be taking place under our roof at Dance Base. In Scotland, it is a rare occasion when this many professional independent dance artists can get together and get busy. I want to say a huge thanks to EIF for trusting us as collaborators. I personally cannot wait to get stuck in!”
Roy Luxford, Creative Director, Edinburgh International Festival added: “The International Festival at its core promotes the exchange of ideas to deepen understanding between cultures through performance.
“Creating this platform of exchange between Scottish professionals and dancers from The Rite of Spring company is a special Festival moment, and together with our partners the British Council and Dance Base we can continue our commitment to artistic exchange and development.
“I look forward to this exciting week at Dance Base ahead of the performances of The Rite of Spring/ common ground[s] at The Playhouse Theatre this August”.
Speaking about the artistic development week, Norah Campbell from British Council Scotland concluded:“Building platforms for international connection is at the heart of what we do at the British Council, and we’re delighted to help bring these amazing dance artists together – putting a spotlight on local and global talent, helping them all to reach new, international audiences.
“I’ve no doubt the experience will spark new ideas and will allow all the artists to build strong networks for the future.”
Summer of fun promises to foster the next generation of performers
AN ESTEEMED performing arts school in the heart of the capital is geared up to welcome budding young performers to its summer programmes.
The MGA Academy of Performing Arts has launched two summer schools that will run this summer, aimed at inspiring young talents, and offering an insight into life at the school.
A Week in the Life will give budding young talent a first-hand insight into the daily routine of a student at MGA, providing a genuine taste of the challenges and rewards of being a full-time student.
Designed for ages 13 and above, the programme offers a comprehensive five-day journey, mirroring the intense schedule of a full-time student in acting, musical theatre, or dance.
On the other hand, specially tailored for children aged between 7-14, Once Upon a Fairy tale will be an action-packed week of musical theatre, acting and dance training.
Marcella Macdonald, Principal of The MGA Academy, said: “Our summer schools are always very popular, so we’re really excited to launch these two exclusive opportunities.
“A Week in the Life is exactly what it says on the tin – the perfect chance to experience the training that our full-time students receive on their way to achieving a degree with us, giving a real insight to life at the Academy.
“Once Upon a Fairytale is aimed at slightly younger children and is an exciting journey into classic stories like Shrek, Descendants, Enchanted and more. It promises to be a magical week.
“We’re lucky to work with vastly experienced performers and tutors who are experts in their field. Our summer schools are a golden opportunity for those looking to get a taste of the industry.
“Not only will applicants benefit from the high-quality teaching and confidence building skills, but they can also get a real taste of MGA student life before making a full-time commitment.”
Applications are open to performers of all levels, who will learn invaluable techniques and skills from the academy while also honing their confidence, with many a long-lasting friendship having originated at these events.
Once Upon a Fairytale runs from Monday 31 July to Friday 04 August. A Week in the Life runs the following week from Monday 07 August to Friday 11 August. Both will be held in the academy’s Balgreen campus, ahead of the new Livingston campus opening in September.
Marcella added: “Our summer schools provide an immersive and unforgettable experience, fostering a lifelong love for dance and empowering participants to shine on and off the stage.
“The programmes are a testament to our commitment in providing opportunity for performers in Scotland. The places are likely to get snapped up fast, so make sure to get your applications in!”
The MGA Academy is Scotland’s only fully accredited performing arts college, holding Scottish Qualifications Authority (SQA), Council of Dance, Drama and Musical Theatre (CDMT) and Imperial Society for the Teachers of Dance (ISTD) certifications.
Based in Balgreen, the academy’s mission is to provide a platform for aspiring performers to remain in Scotland while studying at a level equivalent to prestigious London colleges. The academy is set to expand its footprint, with a new multi-million pound campus in Livingston opening in September 2023.
Learn more about The MGA Academy and how to enrol for courses here:
Join them for DUSK, where you can experience a new wellness movement. Move your body through a glorious yoga practice to a DJ, reclaim the dancefloor, and still be home in time to pop your feet up on the sofa and get up early the next day. Or if you’re really feeling it, you could continue to party the night away!
Anton du Beke, one of the country’s best-loved and most accomplished entertainers, has announced a special, limited run at the Underbelly’s McEwan Hall at the Edinburgh Fringe from 23rd – 28th August.
The one-hour show, An Afternoon with Anton du Beke, will see Anton joined by singer, Lance Ellington, as well as a live band and a company of dancers to create an afternoon filled with song, dance and a lot of laughter.
Anton will share some hilarious behind-the-scenes stories from across his career, including some memorable moments from the last twenty series of Strictly Come Dancing which saw him become a household name.
With his inimitable quick wit, he’ll respond to questions from the audience, as well as performing some of his favourite songs and enthrall audiences with the glittering dancing that he has become synonymous with.
Anton said: “Performing at The Edinburgh Fringe has long been an ambition of mine and I am absolutely thrilled to be there this year – it’s a dream come true and it’s going to be really special.
“We’ve been warming up for you with our countrywide tour earlier this year and together with Lance, our amazing musicians and dancers, we are going to create a truly unforgettable experience for Edinburgh.
“It’s a one-of-a-kind celebration full of laughter, music and dance – it’s the perfect way to spend an hour in the afternoon – come and have some fun!”
The nation’s favourite TV judge, NTA winner Anton Du Beke, best known for his charismatic performances on the hit BBC show, will be joined by Lance Ellington, an acclaimed vocalist known for his soulful voice and dynamic stage presence.
Lance has been a regular featured vocalist on Strictly Come Dancing for over a decade, and his powerful performances have captivated audiences worldwide. He has worked with many of the world’s top recording artists, including Sting, Michael Jackson and Tina Turner, as well as performing at London’s famous Ronnie Scott’s Jazz Club many times.
Together, Anton and Lance are set to create a spellbinding experience for audiences, with their combined talents and electrifying stage presence.
AN AFTERNOON WITH ANTON DU BEKE at the Edinburgh Fringe will also feature a live band whose credits range from working on West End shows, to performing with The Royal Philharmonic Orchestra, to recording and performing with international artists such as Dame Shirley Bassey, Andrea Bocelli, Queen and more!
Underbelly’s Head of Programming, Marina Dixon, said, “We are beyond delighted to have Anton and his team join us for six special shows this August.
“The show, featuring comedy, dancing, incredible live music, all told through the eyes of Strictly Come Dancing legend, Anton Du Beke, promises to be an afternoon out to remember. We hope you can join us.”
As well as the special Edinburgh Fringe performances, the tour also visit several cities across the UK, including London, Birmingham, Manchester, Glasgow, and Cardiff, among others.
LISTINGS
AN AFTERNOON WITH ANTON DU BEKE & FRIENDS
Underbelly, Bristo Square (McEwan Hall) 13:30 (65 mins) Aug 23-28 (£24.00 / £22.00 concession) Genre: Cabaret and Variety, Dance, Comedy
Strictly Come Dancing legend and judge, Anton Du Beke, takes to the stage with his with his live band, a guest singer and his dancers; expect a fab-u-lous afternoon of song, dance and laughter.
Performing some of his favourite songs and dances that have inspired his career throughout his life, expect behind the scenes stories from his time on Strictly that will have you laughing out loud.
Don’t miss this special opportunity to get up close and personal with the King of the ballroom!
Kevin Clifton hits the dance floor at top Edinburgh performance school
LUCKY musical theatre and dance students were treated to an unforgettable experience as performers from Strictly Ballroom the Musical took a break from touring to host a samba masterclass.
Students from The MGA Academy of Performing Arts welcomed Kevin Clifton, BBC Strictly Come Dancing star, along with the talented Poppy Blackledge and MGA graduate Kieran Cooper who all shared their expertise and insights during an exclusive and energetic session.
This special visit provided a fantastic opportunity for students to engage and learn from renowned professionals helping inspire the next generation of talents through sharing techniques, knowledge, and valuable insights into the audition process.
Kevin Clifton, who featured in seven series of the hit BBC show, finally winning in 2018 with his now long-term partner, Stacey Dooley, said: “I loved being at MGA because we weren’t just trying to teach a bit of dancing and the technique behind it but also show the students the audition process.
“For our show, it takes a lot of letting go in terms of everyone’s inhibitions and really going for it in the room. I feel everyone really committed to it which was really lovely to see.
“To be honest at that age I probably wouldn’t have committed to letting go like that, so it was really great to see and it’s been great to spend time with such a talented bunch.”
It’s an exciting time for the academy, as it is set to move its headquarters to Livingston in the coming months, to enable it to triple its student intake and broaden its educational offering to 11 BA degrees, two postgraduate Masters degrees and strengthen foundational courses that offer opportunities for aspiring performers.
Poppy Blackledge, a talented performer and integral part of the ‘Strictly Ballroom the Musical’ cast, also graced the MGA Academy with her presence. Students had the privilege of learning from her expertise and witnessing first hand the incredible skills that have earned her a place on the international stage.
The visit from MGA BA Hons Musical Theatre graduate Kieran Cooper created a sense of pride and inspiration within the student community.
Kieran’s journey from MGA Academy to performing in a prestigious production like ‘Strictly Ballroom the Musical‘ showcased the exceptional training and opportunities provided by MGA Academy.
Kieran said: “I started MGA in 2013 to study the Musical theatre course, graduating in 2016. I really enjoyed my time there, mainly because everyone is so friendly and welcoming.
“I had never sung or danced before but everyone was just so encouraging, looking back I can honestly say they were some of the best years of my life.
“It was great to bring Kevin and Poppy from Strictly Ballroom along and we did a little samba routine from the beginning of the show, and everyone was amazing.
“I knew the talent level at MGA is high, but we were shocked at just how good the students were today. Everyone was amazing and it’s been great fun.”
The students were able to witness the magic of ‘Strictly Ballroom the Musical’ as they enjoyed the unforgettable performance based on Baz Luhrmann’s acclaimed film. Directed by the famous Strictly Come Dancing judge Craig Revel Horwood, this production brought the glitz and glamour of ballroom dancing to life, leaving an indelible impression on the aspiring performers.
Reece Hannah, a current musical theatre student at MGA Academy, shared her excitement about the visit, saying, “It was a truly incredible experience to have Kevin Clifton, Poppy Blackledge, and Kieran Cooper here at MGA Academy.
“Learning from industry professionals and seeing Kieran’s journey from MGA to performing in a West End production was truly inspiring. It has motivated me to pursue my dreams with even greater passion and determination.”
The visit from esteemed stars of ‘Strictly Ballroom the Musical’ further reinforces MGA Academy’s reputation as a leading institution for performing arts education that provides a platform for aspiring performers to remain in Scotland while studying at a level equivalent to prestigious London colleges.
Founded in 2015 in Balgreen, West Edinburgh it will move its headquarters to a dedicated 30,000 square foot campus in Livingston, allowing it to triple its student intake and expand its educational programme.
To find out more about MGA Academy of Performing Arts, visit:
Today, Thursday 11 May, the Edinburgh Festival Fringe Society is delighted to announce that more shows for the 2023 Edinburgh Festival Fringe will be available to book atedfringe.com.
This year’s Fringe takes place from 04 – 28 August 2023 and will feature an exciting range of shows, with theatre, comedy, music, dance, circus, musicals, variety, cabaret, children’s shows, events and more all represented in the programme.
Ahead of the full programme launch in June, more shows than ever before are being released, with 1,596 shows on edfringe.com from 12:00 BST today. The official launch of the festival, including the reveal of the iconic printed programme, will take place on Thursday 08 June.
Commenting on today’s announcement,Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe Society, said: ‘Today’s announcement reflects the wealth and variety of performance awaiting audiences this August, yet it alsohighlights the need to support artists and venues more than ever.
“Thousands of artists are coming to Edinburgh this summer to reach new audiences, and benefit from the many industry opportunities available to them, which is testament to the platform that the Festival Fringe offers them.
“It continues to be a very challenging time for those working across the cultural sector, and I urge you to browse shows, book tickets, and champion these passionate and resilient performers.
“As we move at pace towards this year’s festival, it has never been more important than now to support those at the very heart of the Fringe – the artists.’
Below is a small representative sample of shows available to book from today. The full list of shows released today can be found at edfringe.com.
Theatre
Disability-led theatre company FlawBored present It’s a Motherf**king Pleasure at Underbelly, ‘a scathing satire on the monetisation of identity politics that spares no one’. Expecting by c21 Theatre Company is at Deaf Action, and ‘explores experiences unique to d/Deaf and hearing couples’.
At Army @ The Fringe, Everything Under the Sun ‘explores complex questions about how lasting peace is achieved, the role of foreign intervention in Mali, and how a state can rebuild after a generation of conflict’ via the story of Ibrihim, ‘a young Malian interpreter attached to the UN.’ Move at Bedlam Theatre follows Mili, who moves ‘from Beijing to NYC to become an artist’ and ‘seeks out people that are the polar opposite of those she grew up with’.
Writer and performer Obehi Janice is in the Casanova-inspired Nova at Royal Lyceum Theatre Edinburgh, following ‘a Nigerian-American comedian navigating desire, pussy and power’. Flickering Seasons at St John’s Church presents ‘a woman’s journey as she navigates life through adversity and challenges such as homelessness, addiction, domestic abuse and racism’. And 4/4/4: 4 Real Asians, 4 White Men, 4 Fake Asians is ‘both an autopsy of racial capitalist manifestations in the real world and a wild, virtuosic experiment which completely rips apart Whiteness’ – it’s at theSpaceUK.
An(dre)a Spisto: El Dizzy Beast is an Assembly show about ‘a queer, autistic, latinx caterpillar on the edge’. At the BlundaGardens, Plague Stone Party: Farewell, Tor offers ‘the queerest folktales that Wales and Ireland have to offer, with clowning, puppetry, and 90s trance anthems’. Gate Number 5 at C venues is ‘a half-live, half-virtual interracial lesbian love story between a white European and a black former refugee’. Asexuality! is ‘an autobiographical musical comedy about Rebecca McGlynn‘s pre-transition life’ – it’s at Gilded Balloon. At Greenside, Burnt Lavender takes place within ‘a clandestine cabaret pulsing with physical theatre, lip-synced routines and gut-wrenching confessions’; it aims to amplify ‘LGBTQ+ history through laughter, tears, and a stage full of queers’. And ‘the origin story of the world’s most glamorous Pride parade comes to life’ in ’78 Things I Don’t Want to Tell You About the Love of My Life at Outhouse.
At Palmerston Place Church, Chariot: The Eric Liddell Story tells the story of the famed athlete and his struggle to stay true to his principles at the Olympic Games of 1924. ‘David Hume and Adam Smith, titans of The Scottish Enlightenment and the dearest of friends, grieve – for old age and disease separate them, perhaps for eternity’ in Enquiry Concerning Hereafter at Panmure House.
Set during the French Revolution, The Madwoman at Paradise Green follows Théroigne de Méricourt, who ‘spends her final days crafting her life’s great work, an opera about the revolution she never left behind’. Ludmilla Dabo and David Lescot star in A Portrait of Ludmilla as Nina Simone at the French Institute in Scotland.
Searchlight Theatre Company presents two shows at Charlotte Chapel: The Screwtape Letters by CS Lewis is an adaptation by Nigel Forde, while Titanic: The Last Hero and The Last Coward follows the journeys of ‘a church minister and an executive of the White Star Line’ on the ill-fated ship. At the Ian McKellen Theatre, Saint Stephens Stockbridge, Full Show Lane Studio present their take on the famous Ming Dynasty novel Journey to the West, combining physical theatre with original music in ‘a rarely seen blend of ancient and modern’. The Brunton with David Ross and Tommie Travers present an amateur production of The Steamie at Loretto School Theatre, as four women in a 1950s Glasgow laundry ‘blether about the past, the future, and being pals’. At Musselburgh Racecourse, Quantum Theatre present an outdoor adaptation of Kenneth Grahame’s classic, Wind in the Willows, while Richard Holloway and friends present Murder in the Cathedral, ‘Eliot’s famous play on the life and murder of Thomas Becket in Canterbury Cathedral,’ in Old Saint Paul’s Church.
The Edinburgh People’s Theatre are staging Whisky Galore! at Mayfield Salisbury Church, in which a community of Scottish islanders ‘rescue’ a shipload of whisky during WW2. Meanwhile, ‘three alcoholics who meet in the night’ discuss fate, destiny and booze in Drink Whole Night at Frankenstein Pub.
House of Oz invites you to meet ‘Maureen: a razor-tongued self-described “working-class glamour queen” with outrageous stories to tell’. Thorns at Laughing Horse is a ‘reimagining’ of Sleeping Beauty, focusing on the voices of the heroine, ‘her daughter and the queen who sought her destruction’.
At Hill Street Theatre and online, Auto-Engrain: A One-Woman Show ‘relays experiences from speed-dating to how a toxic relationship can be engrained’. We Must Do This More at The Royal Scots Club is ‘a one-woman show with original songs and poetry, exploring the life of a burnt-out millennial, struggling to prioritise her best friend’.
Lemon Jelly’s Fred Deakin ‘hosts an immersive joyride through his Clubland adventures’ in Club Life at Summerhall. The 1990-set Better Days at Just the Tonic follows 19-year-old Danny, who ‘stands at the crossroads of football violence and house music’. Bits ‘N’ Pieces at Leith Arches ‘explores the dangers of drug stigma and misinformation in modern society’. And at ROUNDABOUT @ Summerhall, Bullring Techno Makeout Jamz follows Nathaniel ‘on his journey of self-discovery as he explores Black masculinity through Beyonce lyrics, techno raves and the deeply intimate relationship a man has with his barber’.
At Le Monde, Paul Zenon in Monkey Business explores ‘the amazing, strange-but-true story behind the weird stuff advertised in vintage American comics’. Writer, actor and magician David Alnwick presents The Mystery of Dracula at PBH’s Free Fringe, in which ‘Van Helsing’s great, great grandson performs a séance to conjure Count Dracula’s ghost’.
Horizon Showcase: FORGE at Lyceum Roseburn is ‘a durational installation featuring welding and soundscape,’ inspired by the theft of the ‘welcome’ gate from Dachau concentration camp in 2014. Dark Noon at Pleasance is a ‘brutal reimagining of the history of America… told by seven South African actors,’ presented by Danish director Tue Biering and co-director Nhlanhla Mahlangu.
The site-specific Angry Snatch: A Reclamation Job in 15 Rounds is ‘provocative and captivating piece of physical theatre’ at Port O’Leith Boxing Club. At Central Hall, Family Matters is ‘a powerful look at the myriad meanings of the word “family” and the importance of finding where you fit in’.
Comedy
MADE IN AMERICA is ‘a funny yet shockingly raw autobiography by Japanese-born artist Teruko Nakajima’ (featuring her dog Titi) at Gilded Balloon. The Abu Dhabi Dramatic Society presents ‘an original bunch of jokes and sketches based on real-life scenarios’ in On The Tiles at C venues.
In her debut show, The Mandela Effect, Thenjiwe, ‘the Queen of deadpan, discusses how the world has collectively misremembered facts and events that have led to Africa being in the state that it’s in’ at Just the Tonic. Yoshi Obayashi’s Adult Content at Greenside is ‘a show that presents various life stories in and out of the world of sex work – funny, sad, shocking’.
Noam Shuster Eliassi presents Coexistence My A** at Laughing Horse, in which she discusses ‘her Palestinian best friends, Iranian family, and viral marriage proposal to the Saudi Prince’. In his first UK gig, Saudi stand-up, actor and musician Ibrahem Al Hajjaj presents From Riyadh to Edinburgh at theSpaceUK. And, ‘like a 1970s cabaret show but with more colour and less racism,’ The 5th Alternative Black Comedy Showcase is at PBH’s Free Fringe.
In Overweight and OVER IT! at Ian McKellen Theatre, Saint Stephens Stockbridge, RuPaul’s Drag Race UK winner Lawrence Chaney ‘will talk everything from dating and exercise to having to buy two seats on a plane but only getting one meal’. Keroseno and Finito: Cock O’Clock is ‘a transgressive tragicomedy based on true events that follows two LGBT+ siblings Keroseno and Finito, in the prevention and visibility of suicide’ following their mother’s death – it’s on at both Laughing Horse and Leith Depot. ‘Comedian. Trans woman. Voice of a generation. Anna Piper Scott makes her UK debut’ in Such an Inspiration at House of Oz.
At Hill Street Theatre, Seattle comedian Andrew Frank delivers Ecstatic Blasphemy, ‘a hilarious set about growing up as a pastor’s kid, finding queer joy beyond fundamentalist Christianity, and performing subversive stand-up throughout the Bible Belt’.
‘She’s been famous, she’s been homeless, she’s been sectioned with two guys who both claimed to be Jesus.’ Now Gail Porter prepares to be Hung, Drawn and Portered at Assembly. Troy Kinne ‘shares too much information about all of the things wrong with him’ in Made Wrong at 4042. And at Paradise Green, Bipolar Badass ‘is a one-woman show by Mari (like calamari) Crawford about the humour behind struggling with the illness’.
‘Poppyscotland are proud to host a refreshing, uplifting showcase of laugh-out-loud comedy created by Armed Forces veterans’ in The Recovery Through Comedy Show at Lady Haig’s Poppy Factory. ‘Essex-born Gavin Lilley, through his masterful use of sign language, has brought laughter to many deaf and hearing people with his unique perspective on our world today’ – you can catch him as part of Deaf Action Presents: The Gavin Lilley Show.
John Hegley’s The Early Word at Summerhall ‘includes the anxiety of a slug and the four simple rules of Mister Galimore for marking your neighbour’s French vocabulary test’. Jeremy Segway: A Life Out of Balance is a show ‘dedicated to Mr Segway, the man who invented the Segway, all performed entirely on Segways’ – it’s at Bedlam Theatre.
Su Mi: Banana Beard at BlundaGardens ‘invites you on a surreal misadventure of absurdist sketch, untamed thrash metal guitar solos and imaginary costumed personas’. At Central Hall, The Yassification of Jesse James by the Coward Samantha Clementine combines ‘cowboys, karate, a Time Lord, ridiculous slang, and biting social commentary’. And ‘our once hot-bodied men in kilts, now warm-bodied Men in Quilts, navigate the challenges of getting older, not necessarily wiser’ at Boteco do Brasil.
Barry Fern presents his Arthur’s Seat Comedy Extravaganza on the summit of Edinburgh’s favourite dormant volcano this August. The Biscuit Factory hosts a line-up of comedians at Leith Comedy Festival Presents…. And Scottish accordionist Sandy Brechin ‘brings his successful weekly Facebook music and comedy lockdown show, Sandy on Sunday, to the live stage for the first time, with impressions, costume changes, stand-up and some loony tunes’. It’s called Sandy Not Just on Sunday! and it’s at The Saltire Society Headquarters.
There are also plenty of famous and familiar funny faces returning to Fringe 2023. The Duncan and Judy Murray Show is at The Stand’s New Town Theatre, promising ‘another unique show featuring special guests, Q&As and a desperate attempt from Duncan to win his mum’s approval’. Lara Ricote, Rose Matafeo, Sofie Hagen, Dane Baptiste, Ed Gamble and Tiff Stevenson are at Monkey Barrel Comedy; Catherine Cohen, Jordan Brookes, Nick Helm, Rosie Jones, Shaparak Khorsandi and All Killa No Filla are at Pleasance; Glenn Wool is at the Scottish Comedy Festival; Mark Watson has two shows at St Peter’s Church; Jerry Sadowitz proudly presents… Last Year’s Show! at The Queen’s Hall; Foil Arms and Hog, Sara Pascoe and Abandoman are at Underbelly; Mark Thomas and Simon Munnery are at The Stand Comedy Club; and First Thing (Work in Progress by Daniel Kitson) is at ROUNDABOUT @ Summerhall. Bobby Davro, ‘one of the biggest television comedy names of the 1980s and 1990s, makes his Fringe debut’ in My Name Is Bobby Davro at Frankenstein Pub.
Music
‘Led by charismatic Senegalese singer Samba Sene, Diwan is a diverse international collection of musicians, who share a global outlook and love of West African beats’ – catch them at The Jazz Bar. MTO Zendeh Delan‘s Journey of Love at Stockbridge Church is ‘a captivating presentation of the Sufi allegory of Leyla and Majnun depicted through modern Sufi music and the motions of Sama’. Sako Wana at Acoustic Music Centre @ UCC offers a ‘colourful groove for a festive trip to West Africa mixing pulsating rhythms from traditional Mandinka instruments’.
Alafia Ensemble, comprising six musicians from diverse backgrounds, play two shows this Fringe: Amalgamando at Argyle Cellar Bar and Bridges Between Worlds at artSpace@StMarks. At theSpaceUK, David Rivera and La Båmbula ‘will make you dance with their Caribbean sounds from Puerto Rico and Cuba’. Sixty musicians, conducted by composer He Zhanhao, ‘perform one of the most popular works in the modern Chinese classical canon’ in The Butterfly Lovers Violin Concerto and Other Works at Ashton Hall, Saint Stephens Stockbridge.
Fringe audiences can ‘experience the passionate and mesmerising Flamenco Guitar Odyssey by Philip Adie’ at Alba Flamenca. Flamencodanza at C venues is an ‘inspired, powerful and elegant show of Flamenco dance and guitar presented by Aylin Bayaz, Raul Mannola’. And the ‘award-winning Daniel Martinez Flamenco Company presents their long-awaited second album and production’ Andalucia at YOTEL Edinburgh.
The Edinburgh Fringe Fling at the Old Dr Bells Baths ‘will feature some of the finest acts in Scottish traditional music in: Gleadhraich, Whisky Kiss and The Laurettes’, while guitarist Tony Randle takes you ‘on a journey through different shades and flavours of the acoustic guitar, with a mix of original pieces and classics’ in his Acoustic Guitar Showcase at the Arthur Conan Doyle Centre.
Dynamic Earth celebrates ‘the 50th anniversary of Pink Floyd’s 1973 album’ in the immersive Planetarium Lates: Dark Side of the Moon. La Haut (Up There) at the French Institute in Scotland ‘is an audiovisual show that immerses the audience in a unique world through the eyes of bird-like aeroplanes, taking you on a journey exploring emotions of longing and home’.
Tom Robinson is Up Close and Personal at The Stand’s New Town Theatre, offering ‘an hour of classic songs and scurrilous stories spanning five decades of adventures in the music industry’. The Rezillos’ Fay Fife brings ‘an unholy alchemy of country and punk’ to Gilded Balloon with her ‘insurgent alt-country outfit’ The Countess of Fife.
At Bannerman’s, Breakout! is ‘the highly anticipated show from the most beloved up-and-coming indie, pop and rock acts from Edinburgh’. Duane Forrest takes you on ‘a journey through the history of reggae’ in Bob Marley – How Reggae Changed the World at The A Club at the Merchants Hall. And Nothing Ever Happens Here returns to Summerhall with a programme of music gigs throughout August, including Pictish Trail, Kathryn Joseph, Auntie Flo and the London Astrobeat Orchestra performing Talking Heads.
‘Founded in 1947 at the Rose Street Telephone Exchange,’ the Edinburgh Telephone Choir perform Around the World in 80 Minutes at The Salvation Army Edinburgh City Corps, ‘with styles including pop, traditional and show tunes’. The Absolutely Fab Choir present free, uplifting pop songs at Brewhemia and Le Monde this August. And you can expect ‘timeless classics you know and love, inspirational anthems, and exhilarating gospel arrangements guaranteed to revitalise your soul’ in Get Up and Gospel! at Canongate Kirk and Greyfriars Kirk.
Two different shows are encouraging audience members to sing along this Fringe: Pub Choir – This Worked At Home is ‘the low-effort, high-return show of your dreams’ at The Liquid Room, while Choir!Choir!Choir! at Underbelly is ‘a show where the crowd is the star’.
The South London Jazz Orchestra ‘dazzles you with big-band favourites from the whole history of jazz – as well as some more surprising choices – in an afternoon of funk, Latin, swing and much more’. They’re playing at both Broughton St Mary’s Parish Church and St Andrew’s and St George’s West, George St. ‘Award-winning international blues star Giles Robson, one of the greatest living blues harmonica virtuosos, showmen and singers,’ is joined by Edinburgh blues guitar player Sandy Tweeddale in Up Close with the Blues at Ryrie’s Bar. And ‘two-time Grammy nominee’ Beth Nielsen Chapman has released 14 solo albums, with ‘songs recorded by the likes of Bonnie Raitt, Willie Nelson and Elton John’ – catch her at The Queen’s Hall.
As part of the Made in Scotland showcase, the Tinderbox Orchestra take to Edinburgh Central Library this August, ‘bringing together rappers and singers with soaring strings, heavy brass, woodwind and a thundering backline’; Tales of Transatlantic Freedom at Greenside is ‘a glorious exploration of our global musical heritage,’ bringing together ‘the richness of spirituals, jazz, blues, gospel, opera, and the songs of Robert Burns’; and ‘Modern Studies frontwoman Emily Scott performs new melancholy folk-tinged record Leave No Shadow with lush string orchestra and band in a soaring chapel acoustic’ titled Chrysanths, at St Vincent’s, with support on various dates from C Duncan, Faith Elliot and LT Leif.
Mark Spalding performs two Philip Glass recitals at St Andrew’s and St George’s West, George St this August: Piano Etudes, ‘a selection from The Twenty Etudes For Piano composed between 1991 and 2013’ and ‘the piano solo version of the award-winning soundtrack for the 2002 film The Hours’. Meanwhile, Northesk Parish Church plays hosts to three separate programmes of Soloists of the Scottish Chamber Orchestra: André Cebrian and Irene Alfageme, Maximiliano Martin and Scott Mitchell, and Su-a Lee and Hamish Napier. London-based cellist Anne-Isabel Meyer plays the Bach Cello Suites and Bach’s Prelude and Gigue at St Cuthbert’s Church; St Giles’ Cathedral hosts performances by the National Youth Choir of Scotland and NYCOS National Girls Choir; and John Bryden delivers ‘two piano recitals on the Cathedral Steinway’ as part of Cathedral Coffee Concerts at St Mary’s Cathedral.
Attila the Stockbroker has ‘taught himself to play crumhorn, cornamuse, rauschpfeife, recorders and written an album about the Levellers, Diggers and Ranters and the English Revolution of 1649’. Find out more at his Early Music Show at St Cecilia’s Hall.
In Rules Schmules – How To Be Jew-ish at Hill Street Theatre, Suzie Depreli delivers ‘one woman’s passive aggressive mission to educate the world about what it means to have an orthodox family that ate sausages, an Asian Catholic husband that uses more Yiddish words than her Nana, and celebrate Passover without believing in God’. Meanwhile, Endless Sunset Oblivion at Just the Tonic ‘tells the story of Reuben – a young songwriter attempting to combat the accelerated problems the world is facing’.
‘Singing in both French and English, Christine Bovill honours Edith Piaf, Jacques Brel, Serge Gainsbourg, Francoise Hardy and more’ in Paris: From Piaf to Pop at Loretto School Theatre. In Poesie Geht Ohne Schuh (Poetry Walks Without Shoes), ‘poems of Rilke, Eichendorff and more are set to music and performed by Christoph Hilger and Janet de Vigne’ at Old Saint Paul’s Church.
The Octavoce ensemble present ‘a whirlwind a cappella trip through our favourite Disney tunes’ in 100 Years of Disney at Leith Arches. Searchlight Theatre Company presents two shows at Palmerston Place Church: A Spoonful of Songs features ‘some of the most iconic songs from films like Mary Poppins, Aladdin, Toy Story and The Prince of Egypt’, while Her Majesty’s Musicals celebrate ‘the rule and reign of the late Queen Elizabeth II, featuring songs from musicals that have played Her Majesty’s Theatre in London’s West End – including Fiddler on the Roof, Phantom and West Side Story’. AXIOM – ‘11 incredible singers ready to take your breath away’ – present Fundamentals of A Cappella at Paradise Green.
At PBH’s Free Fringe, Marcus Megastar: Live and Controversial is a ‘free LGBTQIA concert circuit-style party after hours, where everybody’s welcome’. At The Three Sisters, AYEbiza Live: The UV Neon Party Sessions is ‘an exciting new visual club experience taking you back to the 00s and 90s with singers, dancers, saxophonists, percussion, glow paint and good vibes’.
And you can witness ‘mind-blowing sound, energy and vocal dexterity performed by international touring beatboxers and world champions, The Beatbox Collective,’ in What’s Your Sound? at Assembly.
Cabaret and variety
In Nails It! at Gilded Balloon, Jesus L’Oreal delivers ‘a sacre-licious energetic hour of song, dance and Jehovah’s Fitness’. ‘Taking to the trial stand, fighting for justice and liberty,’ Karen From Finance Is Doing Time at Underbelly. At BlundaGardens, Joanne Tremarco and Maral: Mother Earth (The Oldest Stripper) is an ‘interdisciplinary BSL-integrated show, blending clown, burlesque, puppetry, live film’. Mr & Mrs Love are at Pleasance, offering ‘a battle of hearts, minds and music… as the two sing for their survival, with a surprising array of musical instruments, outrageous dancing and acidic wit’. And Shakesqueer at Bedlam Theatre is a ‘drag-show parody rewrite of five of Shakespeare’s most famous works’.
Cabaret in the Dark at C venues ‘plunges the audience into darkness, allowing them to step into the shoes of their hosts, VICS, a collective of visually impaired artists from a variety of performing disciplines’. Paradise Palms Late-Night Cabaret is an ‘intoxicated blend of raucous antics, cocktails and rowdiness’ featuring the likes of ‘Fruit Salad, Kweer Kabaret, Shitake Nights’ and more. Meanwhile, audiences can ‘discover the untold stories behind the galaxy’s background characters’ in The Extras Strike Back: A Musical Tribute to the Forgotten Heroes of Star Wars at Greenside.
Australian entertainer, singer and pianist Antony (DrH) Hubmayer presents An Unwasted Evening – The Genius of Tom Lehrer at artSpace@StMarks. Kissing a Fool is ‘a queer clown-cabaret musical tribute to George Michael’ – catch it at Frankenstein Pub. Wela Kapela Productions present two biographical shows at theSpaceUK: A Star Is Born – The Rise and Fall of Judy Garland charts the life of ‘Hollywood’s brightest star’, while Vincent – His Quest to Love and Be Loved is a multimedia cabaret depicting Van Gogh as ‘a complex man with a ruthless drive to create’.
At Assembly, Rutene Spooner’s Thoroughly Modern Maui is a ‘cabaret extravaganza… fusing myth and legend with rhinestones and glitter’. In Child of Sunday at Laughing Horse, ‘Elisa Riddington recounts fables of her childhood as a preacher’s kid, through stories and songs’. And Anna Vanosi’s ‘soulful voice transports you from Billie Holiday to Björk’ in Late Bloomers’ Tales at The Jazz Bar.
Familiar Fringe faces The Lady Boys of Bangkok bring their Party Queens Tour 2023 to the Theatre Big Top. At House of Oz, Leather Lungs: Higher Love ‘reveals all with their heart-stopping four-octave vocal range in a brand new sensual celebration of all things liberation, exploration and vocal sensation’. In GURLBAND: The Show at Brewhemia, ‘Blaze, Angel Beads, Tianah Tucker and Miss Peaches… come together and serve up the most pop-tastic production drag show you’ll see this Fringe’. You can also ‘join two of Scotland’s most fabulous Queens for the ultimate ABBA Drag experience’ in Dancing Queens: The ABBA Drag Party! at The Three Sisters. And Edinburgh-based cabaret group the Little West End Theatre brings ‘a night of sass and show tunes’ to Outhouse as part of The Sassy Belle Cabaret.
Performer Vanity von Glow and wine expert Beth Brickenden are your hosts for Drag Queen Wine Tasting at the DoubleTree by Hilton Hotel Edinburgh City Centre, while The Mother Superior hosts Whisky & Witches Presents Mythical Beasts: An Immersive, Mystical, Musical Whisky Tasting, ‘where folklore, five exceptional whiskies and hauntingly beautiful music meet in perfect harmony’.
‘From classic close-up to parlour prestidigitation, Tim Licata brings his brand of delightful deception to the Scottish Arts Club’ in Close-Up and Personal. Meanwhile, at PBH’s Free Fringe, magician and comedian Chris Cook Asked a Robot to Write Him a Five-Star Show and This Is What It Said.
Dance, physical theatre and circus
Kyiv City Ballet, who ‘remain in exile due to the ongoing war’, perform A Tribute to Peace at Assembly. The Unknown Soldier at Army @ The Fringe is a ‘compellingly captivating ode to Black British war veterans, telling hidden stories of men and women of Black British heritage who fought in WWI and WWII, using dance, text, live music and visuals to capture their contribution’.
‘Based on Japanese folktales, Noh, and butoh that reveal the human unconscious,’ Sun and Crystal at C venues is ‘a poetic dramatic telling of a universal contemporary myth that transcends time and borders’. Oriental Youth Culture and Art Week at Ashton Hall, Saint Stephens Stockbridge is a ‘children’s art show with the theme of Impressions of the East,’ featuring ‘song and dance, instrumental music, drama, and creative expression of picture books and paintings’.
You can also ‘immerse yourself in the richness of Chinese culture with a showcase of exceptional young dancers from China, featuring traditional and contemporary Chinese dance’ at the Chinese Art Show (Venue150 at EICC). ‘Inspired by classical and contemporary paintings, and supported by a variety of pre-recorded and live music,’ Still Life: A Gallery in Motion at Greenside ‘is an exploration and interpretation of the human condition’.
House of Oz and Na Djinang Circus present Common Dissonance, a show acknowledging that Australia’s ‘understanding of the world came from Dreamtime stories, song lines and oral histories’ and asking how we ‘navigate the complex dialogues of contemporary culture’.
At LifeCare Centre, TaalTales present ‘a contemporary feminist reimagining’ and use Indian classic dance and music to ‘explore characters from the Mahabharata’ in What Draupadi Said to Penelope.
At theSpaceUK, Tandava ‘sees the coalescence of Scottish guitarist Simon Thacker’s startlingly passionate sound-worlds with the infinitely expressive physicality of three gifted dancers from India’s Piah Dance Company’ as part of the Made in Scotland showcase.
From Chicago, ‘a revolving line-up of internationally renowned circus artists combine to showcase their most personal and prized acts, complimented by stunning live music’ in Aloft Presents Sanctuary at Underbelly’s Circus Hub on the Meadows.
‘Told through Sacramento Contemporary Dance Theatre‘s powerful emotion and movement, the audience will witness an opulent interpretation of Marie Antoinette’s fate’ in Marie at Bedlam Theatre.
Meanwhile, Laura Murphy, Contra and Carré Magique present A Spectacle of Herself at Summerhall, ‘a cinematic, (in)appropriately acrobatic ride through mental health, queerness, rage and 21st century space race’. Meanwhile, Spirit of Ireland is at Pleasance, offering an ‘incredible night of music, comedy, dancing set in greatest pub in Ireland’.
Available to watch online, A Snake in the House Means the Family Will Never Want is ‘an immersive performance of live electronica, dance and sculptural costuming, on intergenerational healing and transformational futures’. Also online, Eat Me is ‘a story of two women who use the dark web to find one another and together commit an act of “consensual” cannibalism’.
Children’s shows
‘With the rare combination of world champion skills, unprecedented showmanship and a truly original style,’ Cartoooon!! at Assembly ‘fuses circus with Manga cartoons to deliver a masterclass in the universal language of laughter’. Nik Coppin brings Comics vs Kids: The Super Showdown to Laughing Horse, ‘full of jokes, silliness, his own drawn cartoons, competitions based around Disney and superheroes, mayhem and special guests’. The ListiesMake Some Noise at House of Oz in ‘an insane mixtape of silly songs, stupid sketches and crazy clowning’.
Delving into Edinburgh’s gruesome history, Plague, Poo n’ Punishment at The Lost Close features ‘live music and horrible stories from centuries gone by’. In Taiwan Season: World in a Word at Summerhall, ‘language is the springboard for fun and games in an interactive, family-friendly production’. Bumble’s Big Adventure at C venues is ‘a one-act educational play following Bumble, a honeybee, on an adventure to find a bee balm flower’. Smithy’s Scavenger Hunt at Panmure House promises you’ll ‘have a blast while learning about the Scottish Enlightenment and its leading figures’. And 24 Solar Terms at theSpaceUK is ‘an immersive theatre production’ from QFunTheater Children’s Experimental Troupe, ‘condensing the time of each season into a performance.’
Gilded Balloon and Little Angel Theatre present The Slightly Annoying Elephant, a production ‘based on David Walliams’s hilarious book’, while James and the Giant Peach at Greenside is ‘a fabulous retelling of Roald Dahl’s classic peachy tale’.
‘A little girl is sent to retrieve a needle and thread from the ferocious Baba Yaga’ in A Girl Called Grace at The Royal Scots Club. At Central Hall, The Miraculous Journey of Edward Tulane ‘is a wonderful story about love, loss, change and finally, finding your way home’. And the Helena Academy of Drama and Expression presents two productions at Paradise Green: Children of Eden Jr, ‘Stephen Schwartz’s epic and heartfelt musical’, and Journey to the West: In Search of the Way, an interactive show filled with ‘martial art, music and mischief’.
‘Funalicious master magician Alex’ presents Abracadabra With An Apple Magic Show at PBH’s Free Fringe, ‘a children’s magic show filled with excitement, fun, laughs and stories that entangle together in one awe-inspiring performance’. Mario the Maker Magician leads audiences ‘through a romping explosion of contagious energy and belly laughs’ at Underbelly. And ‘one of Scotland’s favourite magicians, Tim Licata astounds audiences with delightful deception’ at Saturday Morning Magic (Scottish Arts Club).
Musicals and opera
‘From the Tony Award-winning producer of Six’ comes Hello Kitty Must Die at the Pleasance, ‘an outrageously irreverent exploration of Asian feminism with a killer score’. Part of the Made in Scotland showcase, SCOTS at Ghillie Dhu is ‘the true(ish) story of Scotland, told by a figure who’s seen it all – The Toilet’.
Are You Worthy? at BlundaGardens is a new musical following Glory, who ‘dreams of singing at the world’s most prestigious festival, the only thing standing her way is a mysterious pyramid’.
At Bedlam Theatre, ‘Death (personified) takes us through the artistry in ensuring that each and every one of us meets our maker’ in Death Suits You. ‘From the stages of London to the shelves of Lidl,’ 2020 The Musical (at Underbelly) ‘celebrates human resilience and everyday heroes’. And Come Die with Me: The Murder Mystery Musical Parody at Just the Tonic is ‘sure to have you giggling, gasping and gagging, and that’s before the choose your own ending’.
The Royal Conservatoire of Scotland present two shows at Assembly: Big Fish is ‘based on Daniel Wallace’s novel and Tim Burton’s movie’, while Edges is ‘a contemporary song-cycle which explores universal issues in a charming, honest way, asking – who am I and what will I become?’ Over at George Watson’s College there are two musical adaptations: 1920s gangster comedy Bugsy Malone and classic horror spoof Young Frankenstein.
Warriors (Army @ The Fringe) is ‘a new musical, written by serving Scottish soldiers and veterans, about their own experiences as young soldiers waiting to deploy to Helmand Province, Afghanistan for the first time’. Online and at C venues, Dreams of Peace and Freedom: The Streams of Natural Law is a ‘powerful performance exploring the birth of modern human rights, through the eyes of David Maxwell Fyfe, Nuremberg prosecutor and ECHR champion, with musical settings of the poets who inspired him’.
Pai’ea at Central Hall is ‘a glam-rock opera that covers the early life, tests, and battles of Kamehameha I, the chief who united the Hawaiian Islands’. Blossoming (You Undo Me) at Gilded Balloon is ‘a musical about a young Chinese man growing into his queerness’.
The Legends of Mountains and Seas (Paradise Green) is ‘adapted from the famous play by Nobel Prize-winning author Gao Xingjian. With Western rock music, it shows the characters and stories from Eastern mythology.’ And Legend of the White Snake (theSpaceUK) is ‘a classic love story portrayed by one of China’s leading companies in traditional Kunqu opera, rarely performed in the West’.
At the French Institute in Scotland, Cyborg Experiment #1 is ‘an audacious performative proposal, an opera of the future where temporalities mix and anachronism plays with history’. At Greenside, the California Musical Theatre Ensemble present Bright Blue Sky: The 9/11 Musical – in ‘a series of heartfelt scenes, each character relives their past, revealing hope inside tragedy’.
Edinburgh Music Theatre bring two shows to St Andrew’s and St George’s West, George St this Fringe. EMT Does Pop promises ‘anthemic songs that you love, performed with EMT’s signature quality and style’, while Anthems – New Generation Musical Hits has ‘a stunning collection of anthemic songs from newer musicals from recent decades, performed with a live band’.
PBH’s Free Fringe welcomes the return of A Young Man Dressed as a Gorilla Dressed as an Old Man Sits Rocking in a Rocking Chair for 56 Minutes and Then Leaves… 14, for one performance only.
Spoken word
In Bards at the Barracks (Army @ The Fringe), ‘Scottish poets will be reading work exploring our collective history and common creative future, including a special evening spotlighting Hamish Henderson’.
Sebastian Michael, ‘author of The Sonneteer and Sonnetcast podcaster,’ presents Some Sonnets and a Bit of Bach at Greenside, exploring similarities between Shakespeare and Bach. And audiences can ‘join guests from the worlds of comedy, literature, music and faith for a series of live recordings’ of the All-Terrain Podcast Live at The Salvation Army Edinburgh City Corps.
‘Spoken word and performance artist Subira Joy explores their experiences being targeted by the police as a Black, queer and trans person’ in Kill the Cop Inside Your Head at Summerhall. Seventy-Eight Thank Yous at the Arthur Conan Doyle Centre ‘joins new conversations arising about suicide and has been appreciated all over the UK’, approaching its chosen subject matter ‘with both depth and lightness’. Performance poet Robert Garnham is at Just the Tonic with his new show, Bouncer, offering ‘an hour of storytelling, poetry and comedy about fame, hope, and dreaming’. And Conspiracy Theory: A Lizard’s Tale (PBH’s Free Fringe) is ‘a darkly comic tale of one man’s journey through the conspiracy underworld’.
‘Bizarre and hilarious (hidden Neurodiverse/Autistic) Eccentrics demonstrate how to enjoy good mental health, be yourself and free everyone’ in Eccentrics Unite! The Guerilla Autistics and Neurodiverse Show – Year Nine at Laughing Horse, while Drs Munro and Kernick are Getting to Grips with Migraine at The Royal Scots Club, exploring ‘exciting new treatments, problems in children, hormones and why it’s not just headaches’.
‘Veteran street artist’ Dave Southern brings his Pavementology tour back this August, telling ‘the story of street performing at the Edinburgh Festival Fringe’. At The Lost Close, Natalie Nardone’s Witch? Women on Trial explores ‘the brutal truth of the witch hunts in Scotland, told with humour and empathy’. The Cathedral Song School Tours at St Mary’s Cathedral give visitors a chance to see the Cathedral’s murals by Phoebe Traquair, painted between 1888 and 1892. And at Panmure House, The Butcher, the Brewer, the Baker and Merryn Somerset Webb is a series of discussions and debates with ‘a well-known group of economics, politics and finance gurus’.
LBC presenter Iain Dale hosts a series of discussion events at Pleasance, with guests including Peter Tatchell, Alex Salmond, Harriet Harman MP, Humza Yousaf MSP, Peter Hitchens, Polly Toynbee and Jeremy Corbyn. Corbyn’s also part of the line-up at Fair Pley’s In Conversation… series at The Stand’s New Town Theatre, alongside Ken Loach, Andy Burnham, Mhairi Black, Jack Monroe and more. Broadcaster and journalist Kaye Adams is at Gilded Balloon, explaining How to be 60 Live! ‘with the help of her filter-free friend Karen, some well-known guests and most importantly, you’.
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.
Friday 16th June
7pm
The Bongo Club | 66 Cowgate | Edinburgh
