National Lottery Good Causes: Fund what matters to you
It Starts with Community. And it starts with you.
There are just seven weeks left to respond to the UK Government’s call for evidence, on how the money raised for good causes by National Lottery players should be spent – and they want to hear from individuals and groups across Scotland.
Since 1994, the National Lottery has generated over £53 billion for good causes – through projects that help people connect, grow and build a better future, all across Scotland, Northern Ireland, Wales and England.
Our priorities, and our strategy It Starts With Community, have been shaped by 18,000 people across the UK who told us what their communities needed. And last year, our funding teams covering every postcode area of the UK funded an idea every 8 minutes.
Bursaries of £2,500 to support artists bringing work to this year’s Fringe
Today, Friday 7 March, the Edinburgh Festival Fringe Society is delighted to announce the recipients of the 2025 Keep it Fringe fund.
This is the third year of the fund, an initiative created to support Fringe artists to realise their professional ambitions, and in 2025 funded by the Department for Culture, Media and Sport (DCMS).
The Keep it Fringe fund was launched in 2023 by the Fringe Society honorary President Phoebe Waller-Bridge and funded by the Fleabag for Charity campaign, alongside funds donated to the Fringe Society by Edinburgh Gin.
Supported by £1 million from the Department for Culture, Media and Sport (DCMS) over two years (2024 and 2025), the Fringe Society is today announcing the successful 180 recipients of £2,500 bursaries for Fringe 2025. The fund received 848 applications, which were reviewed by 28 independent assessors.
Keep it Fringe shows span a range of topics, including IVF, Miss Universe pageants, Dolly the Sheep, incel culture, Deliveroo cyclists, tinnitus and football hooliganism, with companies and artists covering nearly every genre in the Fringe programme. Representing a mix of free and ticketed shows, 33% of the successful applicants identify as disabled or have a health condition, and more than 30% come from a working-class background.
The Fringe Society hopes to continue the Keep it Fringe fund for as long as possible and is actively seeking new funding and donations to ensure the long-term sustainability of this important initiative. Donations can be made here, and updates will be provided as the project progresses.
Culture Secretary, Lisa Nandy said: ‘The Fringe is the largest performing arts festival in the world and gives creatives from across the UK the opportunity to showcase the wide variety of talent this nation has to offer.
‘This funding will ensure that artists from all backgrounds have the opportunity to put on a show for the international audiences and industry professionals that gather in Edinburgh each summer and enable the Fringe to continue to boost our up-and-coming artists.’
Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe Society, said: ‘This year we received the highest number of applications to date which highlights how valued and needed this initiative is.
“We are thankful to DCMS for providing the funding that has enabled us to continue the Keep it Fringe fund for the last two years. We know that for many artists the financial challenges of putting on a show can prevent some from coming to the Fringe, and this funding will enable the Edinburgh Fringe to be more accessible to artists from across the UK.
‘We are keen to continue the Keep it Fringe fund, as we have heard countless testimonials on how invaluable this support is. If you think you can help, please get in touch with the Fringe Society team.’
THE SUCCESSFUL RECIPIENTS OF THE KEEP IT FRINGE FUND (alphabetical):
This list does not include the full list of recipients as three shows are still going through the final stages of confirmation.
4PLAY, Colours Run
Agent Red Arts, AUDITION
Aisheshek Magauina, 2 Muslim 2 Furious 2: Go Halal or Go Home
Alastair Clark, Alastair Clark: On The Record
Alex Mitchell, Alex Mitchell: “Tough”
Alfie Webster, lenny.
Alice Cockayne, Alice Cockayne:
Alison Affleck, ali affleck and The Traveling Janes
Alison Spittle, Fat Bitch
Amy Mason, Amy Mason: No Thanks
Amy Yeo, Well Behaved Women
Angela King, A Period of Faith
Aoife Parr, anatomy of pain
Arron Jones Entertainment, #1 Greatest Hit Rock ‘N’ Roll Magic Show
Maria A L Zani, The Collective: Breaking Barriers at the Fringe
Maria Who?, Miss Brexit
Martha Pailing, Chat Sh*t, Get Hit
Jasmine Thien, I Dream in Colour
Maybe You Like It, Down to Chance
Mianoora Kosonen, Echoes of Finland: Rare Piano Gems by Sibelius, Madetoja & Palmgren
Michelle Burke, Mind How You Go
Mohit Mathur, Dial 1 for UK
Molly Farquhar, Hairy B*stard
Molly McGuinness, Slob
Moon Rabbit Theatre, Shirley: A Ghost Story
Moonbeam Theatre Ltd, Once Upon A Flowerbed
Moonstone Theatre Company, ENOUGH.
mr blue productions, Something Else
Narin Ozenci, Narin Oz (Inner Child(ish)
Nate Kitch, Nate Kitch: Something Different!!!!!
Nathan Cassidy, Nathan Cassidy: It’s Not The End Of The World
Niall Moorjani Storyteller, Kanpur: 1857
Northern Lights Theatre, The Sculpture
Orla Newmark, Orla Newmark and Will Hughes: Chef’s Treat (WIP)
Out Of The Forest Theatre Ltd, Bury The Hatchet
Ozzy Algar, Ozzy Algar: Speed Queen
Parky Players, Been There, Done That, Got The Symptoms
Passing Stranger Theatre Company, People We Bury Alive
Pedro Leandro, Soft Animal
Piers MacKenzie, COURIER
Pigs Fly LTD, E@sy Ryan
PINCHY theatre, FLITCH
Ray Productions & Big Sofa Theatre, Egg’s Aren’t That Easy To Make
Roarrr Theatre, Here Comes GuDong
Rodreguez King-Dorset, I am the Greatest!
Rosa Garland, Primal Bog
Saksi Bisou, Stampin’ in the Graveyard
Salt Circle Productions, Bea P. Deigh
Sam Nicoresti, Sam Nicoresti: Baby Doomer
Sam Williams, Touch Me Not
Samia Rida, Kidnap
scott turnbull presents, Scott Turnbull presents…Surreally Good
Seemia Theatre CIC, Saria Callas
Shahaf Beer, The Jewish Dog
Shalaka Kurup, Shalaka Kurup: Get a Grip
Short and Sweet Theatre, Milk On The Side: A Barista Musical
Shy Bairns, Shy Bairns Get Nowt
Siblings Comedy, Siblings
SkelpieLimmer, SHAME SHOW
SkelpieLimmer Productions, Anthem For Dissatisfaction
Slow Theatre Company, ALICE
Sufrecs Ltd, Sufrecs Presents: ‘Live Music and Chat: “A Kick Up The Arts” Live Podcast Event’ (working title)
Susan Riddell , Kopfkino
Tamsyn Kelly, Tamsyn Kelly Hot Titty Bungalow
TEAM Collective Cymru, Relay
The Biscuit Barrel, Biscuit Barrel: The 69-Sketch Show
The Crunch Collective, Nick it For Munich
The Harbourers Theatre, Harbouring
The Horgles, A Xerox of a Deer
Tigers, Not Daughters, Cara and Kelly are Best Friends Forever for Life
Tom Little, Tom Little Less Conversation, Tom Little More Action
Tomas McCabe, 1Date: The Dating Game Show
TRIADA theatre company, HER RAVING MIND
Uncaged Theatre, Love you, bye
Undone Theatre, The Butterfly Project
Unexpected Places, After Juliet
V Jay Theatre Productions, Streets Paved with Gold
Victoria Evaristo, Ma Joyce’s Tales from the Parlour
Victoria Firth, Batty!
Victoria Melody, Re-Enactment
wendy houstoun, Watch It!
Wilmas Productions, Mr Jones
Xhi Ndubisi, The Apologetics of Icarus
Youth Action Alliance, As We Face The Sun by Kit Withington
ASSESSORS
28 assessors supported the Fringe Society in reviewing the applications received. Thanks to the following for their support in the fast turnaround of these awards.
Alex Howarth, Artistic Director, Patch of Blue
Apphia Campbell, Writer / Performer
Ashley Davies, freelance Arts Journalist
Ben Humphrey, Artistic Director / Producer
Chris Cooke, Founder and Co-Editor of ThreeWeeks Edinburgh
Geoff Rowe, Founder Leicester Comedy Festival
Jake Orr, freelance Creative Producer
Jess Donn, Just Something Different LTD
Pax Lowey, Director: Actually Rather Good Comedy Festival, freelance Producer / Programmer, elected member of the Fringe Society board
Ruth McCarthy, Artistic Director / Outburst Arts
Sasapin Siriwanij, BIPAM Artistic Director
Sharon Burgess, Chief Executive of Aberdeen Performing Arts
Linda Catalano, Creative Director and Executive Producer, Quiet Riot
Paloma Estevez, Director of Artistic Programming, Lincoln Center for the Performing Arts
Nqobile Dumo Mbhele, Artist Manager, National Arts Festival
Cat Sheridan, Senior Producer, We Are Unlimited
Rachel Clarke Hughes, Creative Director, The Playhouse, Derry~Londonderry
Stewart Pringle, Writer and Dramaturg
Richard Williamson, Lighting Designer / Production Manager
Murray Robertson, Arts Writer
Holly De Angelis, Development Producer
Saima Ferdows, freelance TV Producer
Ameena Hamid, Producer and General Manager
Zoe Paskett, Founder of LMAOnaise Comedy
Laura Rouxel, Head of UK Comedy for 800 Pound Gorilla Media
Aisling Galligan, Senior Events Producer and Programmer
The 2022 Edinburgh Festival Fringe draws to a close today having brought together artists, international arts industry and media, and both loyal Fringe fans and new audiences.
After some of the most challenging years on record for the sector, the hard work and effort of the artists, venues, producers, promoters, arts and media industry, and staff should be recognised and celebrated.
The lead up brought with it understandable anxiety, as Fringe-makers took on the risk and uncertainty of returning in a year like no other. Audience patterns have changed, industrial action caused significant disruption to rail travel and refuse collection, and affordable accommodation in Edinburgh was at crisis point. This year’s festival has been a colossal and collective effort.
We recognise and thank the residents and businesses of Edinburgh and the Lothians, home to the Fringe for the last 75 years. Residents of our historic city accounted for 39% of all tickets issued (+4% on 2019), and their support and commitment to the festival is evident. Overseas audience attendances also increased, accounting for 10% of all tickets issued (+2% on 2019).
While the number of tickets issued is testament to the commitment of those who put on the shows and the audiences who came to see them, far beyond what we could have imagined at the start of the year.
The growing cost of Edinburgh for artists points to the need for long-term recovery, investment, and support to ensure the sustainability and longevity of one of the world’s most important cultural events.
Some clear challenges have emerged, and we need a collective approach to address these, or the future of this long-running beacon for cultural connection and development will be in jeopardy.
This year’s Fringe saw an estimated 2,201,175 tickets issued across 3,334 shows which were performed by artists from 63 countries. The festival welcomed diverse work from Scotland, the UK, Europe and the rest of the world, with 13 showcases including work from Canada, Finland, Belgium, Taiwan, South Korea, Ireland – North and South, Denmark and Australia.
The 2022 programme tackled themes and issues such as mental health, gender and gender identity, neurodiversity, disability, feminism, lockdown, experience of migration, LGBTQ+, politics, race and racial identity and work for children; with upcoming talent showcased alongside well-known performers and international work.
The Street Events programme was extended into new sites, with 3,284 performances by Street Performers across the programme. These included 650 Taster Stage slots on new sites in St Andrew Square and Cathedral Square in St James Quarter. 170 shows were represented, with five additional slots given to community groups and schools.
Over 35 professional development events for Fringe participants were delivered in partnership with 16 external organisations in Fringe Central, our dedicated centre for artists at the heart of the Fringe, and on Fringe Connect, our online home for artists.
The Arts Industry office accredited 1,354 producers, programmers, bookers, talent agencies, festivals and others from 45 countries, looking to find work, tour it and support artists beyond the festival itself. They were joined by over 770 of the world’s media, and 147 delegates who participated in Screen Fringe.
The communities, learning and access team worked on a number of key initiatives, including loaning out 150 sensory backpacks for autistic children and adults. BSL interpretation took place in West Parliament Square on five days of the festival, and a dedicated Changing Places toilet was located beside George Square.
The Society worked with over 30 Edinburgh charities and community groups to distribute over £60,000 of Fringe vouchers and Lothian bus tickets, enabling residents from across the city to experience the festival, many for the very first time. In addition, over 900 schoolchildren came to the Fringe as part of our schools’ outreach work.
Shona McCarthy, CEO of the Edinburgh Festival Fringe Society, said: “Our enormous congratulations go out to everyone who came together to create the 2022 Edinburgh Festival Fringe.
“This year’s festival is the first step in what will be a long road to recovery and renewal. The hard work of thousands of artists, and hundreds of venues, producers and staff has combined to deliver the 75th anniversary festival during one of the most challenging summers on record.
“We recognise the significant amount of work that is still required to support the long-term sustainability of this phenomenal Festival. As we review and discuss all the learnings from this year, our focus this autumn will be on planning for the 2023 Edinburgh Fringe.
“Collectively we will work to advocate for greater support for those at the heart of the Fringe – our artists. The eyes of the world look to this historic city every August, and we need to work together to ensure the Fringe is the best place for creatives to express their ideas, audiences to support them and for people across the sector to develop their skills and careers for the next 75 years.”
Benny Higgins, Chair of the Edinburgh Festival Fringe Society, added: “I add my congratulations to those that worked tirelessly this August to deliver the 75th anniversary of the Edinburgh Festival Fringe. The importance of this festival cannot be underestimated. Artists use the Fringe as a place to perform, connect and springboard onto their next career opportunity.
“Recovery takes time, and that is why in June we launched our future development goals. The Society acts to offer anyone a stage and everyone a seat, and there is much to do in the coming months. We need to ensure the Fringe is the best place for thriving artists, while ensuring fair work and good citizenship.
“Our digital experience will be key to delivering our climate action targets, and we need to do more to ensure who you are, and where you’re from, is not a barrier to attending or participating in the Fringe.”
As a charity, the work of the Edinburgh Festival Fringe Society would not be possible without the valuable support of our partners, sponsors and funders.
We are hugely grateful to the support of partners City of Edinburgh Council, EventScotland, Creative Scotland, The Scottish Government, British Council, the Department for Culture, Media and Sport, St James Quarter and Nuveen.
Our thanks to sponsors TikTok, Johnnie Walker Princes Street, Edinburgh Gin and Cirrus Logic. Our continued appreciation also to our Fringe Angels, Patrons, Friends and supporters who help make the Fringe happen each year.
Next year’s Edinburgh Festival Fringe will run from 04 – 28 August 2023.
The competition is now live and applications are encouraged from towns and cities across the UK
Winner will have baton passed to them from Coventry – UK City of Culture 2021
UK Culture Secretary Oliver Dowden has today launched the competition to find the UK’s next City of Culture.
The competition, delivered by the Department for Digital, Culture, Media and Sport (DCMS) in collaboration with the devolved administrations, will use culture as a catalyst for levelling up areas outside London and put culture at the heart of their plans to recover from the impact of the pandemic.
The new winner will take on the baton from Coventry and be at the centre of the UK’s cultural spotlight for a year.
For the first time, groups of towns will now be able to join together and apply for the title to be awarded to their local area – widening the scope of which areas of the country could benefit.
Towns and cities will need to articulate a strong and unique vision for their future growth, celebrating local heritage and using culture to bring communities together, build a sense of place and inspire local pride.
Bidders will also be asked to demonstrate how investment in culture and creativity will drive growth, how they will open up access to culture and to develop partnerships and celebrate links with places across the UK.
UK Culture Secretary Oliver Dowden said: “UK City of Culture is a fantastic showcase of the huge impact culture has in towns and cities across the country. From Derry-Londonderry, to Hull and Coventry, previous winners have shown how the competition can deliver greater cultural participation, drive economic regeneration and boost local pride.
“I encourage towns and cities across the UK to put forward bids for 2025 and champion their local arts and culture scene. I’m also delighted to confirm the competition will run in future years, as a sign of our commitment to levelling up culture across the whole of the UK.
Scottish Culture Minister Jenny Gilruth said: “I encourage Scottish towns and cities to take this opportunity to celebrate their local culture and consider bidding to be UK City of Culture in 2025.
“The competition can have a transformational impact on host communities and has the potential to bring a major boost to Scotland as we look ahead to the recovery and renewal of the culture sector.
UK Government Minister for Scotland Iain Stewart said: “The UK City of Culture competition offers a wonderful opportunity for the winning city to make its mark on the UK’s cultural landscape.
“Through raising a city’s creative and cultural profile and drawing in visitors, winning this prestigious title can also provide a real social and economic boost.
“It would be brilliant to bring the prize to Scotland for the first time and I’d strongly urge Scottish towns and cities to get involved.”
The future for the competition has also been confirmed, with Oliver Dowden announcing today that UK City of Culture will become a regular event in the country’s cultural calendar – running in 2029 and beyond.
The first city to take up the mantle was Derry-Londonderry in 2013, followed by Hull in 2017. The City of Culture title attracted millions of visitors and drew in significant investments for both cities. The cultural programmes have had a lasting positive impact on local people, with surveys showing that communities felt prouder and more positive about the place they live after their City of Culture year.
Bidding for the title in its own right can have a hugely positive impact on a place – helping to bring partners together and develop strategic cultural leadership. To encourage as many places as possible across the UK to bid and to benefit from the UK City of Culture process, DCMS will offer funding of up to £40,000 to up to six longlisted places to help develop their applications.
Coventry City of Culture 2021 is already providing a blueprint for how culture can be at the heart of social and economic recovery.
It is expected that Coventry’s status as UK City of Culture will see a significant boost in visitor numbers and economic investment with over £110 million in additional investment secured over the 2018-22 period. The programme aims to attract around 5,000 volunteers and create more than 900 jobs.
The bids for the 2025 title will be assessed by an independent panel chaired by Sir Phil Redmond. He is joined this year by Claire McColgan, Director of Culture Liverpool, as Deputy Chair.
The panel of 11 members will include representatives for Scotland, Wales, Northern Ireland and England. It will visit each of the shortlisted cities, to be announced later this year, before each city or town makes a final pitch to become the next UK City of Culture.
The formal application process for the 2025 competition is now open. The winning city or town will be announced in Spring 2022. Prospective bidders will be invited to join a two day workshop in Coventry which will provide further detailed information and advice on the bidding process.
Sir Phil Redmond, UK City of Culture Chair, said: “I am delighted with the announcement of the competition for 2025, with its expected continuance as a regular feature in our cultural calendar.
“The UK City of Culture years provide the UK with an opportunity to project its creativity to the world while providing cities the opportunity to revaluate their place in the UK, to come together, forge stronger partnerships and reset both internal and external perceptions as Derry-Londonderry 2013, Hull 2017 and currently Coventry 2021 are experiencing.
“It is the excuse for people to talk to each other, rather than at each other.
Martin Sutherland, Chief Executive of Coventry City of Culture Trust, said: “The impact that winning the UK City of Culture title has on a city is huge.
“Over the last four years in Coventry, we have seen significant investment come into the city as a direct result of being UK City of Culture 2021, leading to an ambitious reimagining of the city’s public realm and cultural infrastructure as well as supporting the extraordinary artists, freelancers, cultural organisations and charities that make this youthful and diverse city so exciting.
“Our year as UK City of Culture has just begun, but we can already sense the long-lasting impact on the city, its business and its communities. We wish the best of luck to those cities, towns and regions who are competing for the 2025 title.”
