Arlene Phillips to direct & Oti Mabuse to choreograph The Cher Show UK & Ireland tour

A brand new production of The Cher Show will open next year, with book by Tony and Olivier Award-winning Rick Elice (Jersey BoysThe Addams FamilyPeter and the Starcatcher), direction by Arlene Phillips (Saturday Night FeverStarlight ExpressGrease), choreography by Oti Mabuse (two-time Strictly Come Dancing champion) and costume design by Gabriella Slade (SixIn The HeightsSpice World 2019 Tour). 

The tour will open at Leicester’s Curve on 15 April 2022 and will continue through to 1 April 2023.

Arlene Phillips said of directing The Cher Show, “I have been a fan of Cher since I first heard I Got You Babe in the mid-sixties and cannot wait to direct her musical. I love stories about strong inspirational legends like Cher and I am proud to be joined in the creative team by two women who have already made a huge impact in their careers: Oti Mabuse as choreographer of the many different genres in the show and Gabriella Slade for the iconic costume designs.

“This exciting show will be a non-stop journey of Cher’s rollercoaster life, bringing to the audience Cher’s iconic songs, glorious dance numbers, unique costumes and her epic drama. All they need to do is come along and Believe!”

Oti Mabuse said, “I cannot WAIT for audiences to see what we’re doing with The Cher Show. Cher’s music covers so many styles, genres and rhythms, which makes it so exciting to choreograph.

“Every song in the show is a hit and we are going full out with exciting routines and movement. It’s going to be a party! Cher has been such an inspiration to so many people and this musical is going to be a celebration of everything people love about her.” 

Gabriella Slade added, “Cher is quite literally a style icon. Her fashion moments pushed the boundaries of the time and continue to do so. I’m so excited to be taking huge influence and inspiration from these looks as I embark on creating the costume design for this new production of The Cher Show.”

From a young child with big dreams, the shy daughter of an Armenian American truck driver, to the dizzying heights of global stardom, The Cher Show tells the incredible story of Cher’s meteoric rise to fame. 

Cher takes the audience by the hand and introduces them to the influential people in her life, from her mother and Sonny Bono, to fashion designer and costumier Bob Mackie.  It shows how she battled the men who underestimated her, fought the conventions and, above all, was a trailblazer for independence.  

The musical is packed with 35 of her biggest hits, including ‘Turn Back Time’, ‘I Got You Babe’, ‘Strong Enough’, ‘The Shoop Shoop Song’ and ‘Believe’.  

With over 100 million record sales, an Academy Award®, an Emmy®, a Grammy®, three Golden Globes® and an award from The Council of Fashion Designers of America, Cher has influenced popular culture more than most. 

Her on-screen career started in 1971 with her weekly television show that attracted 30 million viewers a week, and went on to include starring roles in iconic films from Moonstruck, for which she won the Oscar for Best Actress, to Mamma Mia: Here We Go Again!, which prompted the New York Magazine to realise “every single movie—no matter how flawless—would be infinitely better if it included Cher.” 

Her ‘Farewell Tour’ became the highest grossing music tour in history – in true Cher fashion, she followed up her ‘Farewell Tour’ with two further sell-out, worldwide arena tours.  She is the only artist in history to have a number one hit in the Billboard chart for six consecutive decades; an achievement that caused Vogue to deem her “eternally relevant and the ruler of outré reinvention”.  She became known as the Queen of Reinvention. 

In the 1990s, she established The Cher Charitable Foundation to support causes around the world.  She has been a long-time donor and supporter of Habitat for Humanity, The Intrepid Fallen Heroes Fund and Keep A Child Alive, an organisation that helps to combat the AIDs epidemic.  Most recently, she co-founded Free the Wild to help rescue Kaavan the Asian elephant from Islamabad zoo.

Written by Tony Award-winning Rick Elice, The Cher Show made its debut on Broadway in 2018 in a production that earned two Tony Awards and delighted fans from around the world.  This new production will be the European premiere.

The Cher Show UK & Ireland Tour will have lighting design by Ben Cracknell and sound design by Dan Samson.

Website: www.cheronstage.com

Twitter, Facebook, Instagram: @TheCherShowUK

SCOTTISH OUR SCHEDULE

27 September – 1 October    Glasgow King’s Theatre                                 

0844 871 7615*                                                                              

www.atgtickets.com/venues/kings-theatre       

4 – 8 October                        Aberdeen His Majesty’s Theatre                                            

                                             aberdeenperformingarts.com                                             

11 – 15 October                    Edinburgh Festival Theatre                          

0131 529 6000

                                             www.capitaltheatres.com/your-visit/festival-theatre                                

on sale now

Further dates to be announced

*Calls cost 7p per minute plus your phone company’s access charge

Loveday Ingram to direct stage production of the most iconic movie thriller of it’s generation

Smith and Brant Theatricals and Ambassador Theatre Group Productions are today delighted to announce a new production of Fatal Attraction, based on the classic Paramount Pictures Corporation film.

The thrilling new play will embark on a major UK Tour in 2022, opening at the Brighton Theatre Royal on Tuesday 14th January 2022, before touring to Theatre Royal, Newcastle; King’s Theatre, Edinburgh; Theatre Royal, Bath; Theatre Royal, Nottingham; Alexandra Theatre, Birmingham; New Theatre, Cardiff; Everyman Theatre, Cheltenham; Richmond Theatre, Richmond; Royal and Derngate, Northampton; Waterside Theatre, Aylesbury; Theatre Royal, Glasgow and York, Grand Opera House.

Fatal Attraction is the latest grip-the-edge-of-your-seat thriller from the producers of the acclaimed tours of Patrick Hamilton’s Gaslight and Patricia Highsmith’s Strangers on a Train. 

Fatal Attraction is written by James Dearden, who based the stage play on his Oscar-nominated screenplay, which in turn was adapted from his 1980 short film, Diversion. Loveday Ingram will direct the production with a full casting announcement to follow.

One of the most iconic films of the era, Fatal Attraction was one of 1987’s highest grossing US Box Office release, securing six major Oscar nominations at the following year’s Academy Awards, including: Best Actress for Glenn Close’s mesmerising depiction of urbane sophisticate Alex Forrest, Best Supporting Actress (Anne Archer), Best Writing Adapted Screenplay (James Dearden), Best Director (Adrian Lyne), Best Editing, and Best Picture.

Michael Douglas – at the peak of his Hollywood powers – was omitted from the list only as he was nominated elsewhere in the Best Actor category for his role as Gordon ‘greed is good’ Gecko in Wall Street, which he went on to win. 

Fatal Attraction’s success was such that the film inspired a generation of psychosexual thrillers in the years that followed.

When happily married New York attorney Dan Gallagher, meets charming editor Alex Forrest on a night out in the city, they both commit to a night of passion they can’t take back. Dan returns home to his family and tries to forget the mistake he has made, but Alex has different ideas. Dan’s about to discover that love is a dangerous game, and Alex has only one rule; you play fair with her, and she’ll play fair with you.

Loveday Ingram trained with John Barton at the RSC and was previously Associate Director at Chichester Festival Theatre. Loveday’s credits include: The Rover, The Merchant of Venice (Royal Shakespeare Company); Henry V, Julius Caesar (Storyhouse); Baskerville: A Sherlock Holmes Mystery (Liverpool Playhouse/National Centre for the Performing Arts, China); My One and Only (Piccadilly Theatre/Chichester).  Nominated for 4 Olivier Awards and Evening Standard Award); The Blue Room (also Chichester), When Harry Met Sally (Theatre Royal Haymarket); Bedroom Farce (Aldwych Theatre); Three SistersPal Joey (nominated for TMA and Barclay Best Musical Awards), Dead Funny, Insignificance (Chichester Festival Theatre); Macbeth (Theatre Severn); Richard III (Nottingham Playhouse/York Theatre Royal); These Shining Lives (Park Theatre); Rockabye (Beckett Centenary Festival/Gate Theatre Dublin/Barbican); Boston MarriageHysteria (Irish Times Award) (Project Theatre Dublin); Outlying Islands, Lettice and Lovage (Bath Theatre Royal); The Messiah (National Theatre of Brent/Bush Theatre).  Opera credits include All About Love (Linbury Studio); Brittain’s Rape of Lucrece (BAC) and Barber’s Vanessa (Lyric Hammersmith).  Music Video includes This Time It’s Forever (Women’s Aid).

Tipped to be provocative and gripping in equal measures, Fatal Attraction is a tale of seduction and suspense that asks the question; what happens when desire becomes deadly?

www.fatalattractionplay.com

2022 Fatal Attraction Tour List

Fri 14 – Sat 22 Jan 2022                                Box Office: 0844 871 7650

Theatre Royal, Brighton                           www.atgtickets.com/venues/theatre-royal-brighton

Mon 24 – Sat 29 Jan                                 Box Office: 08448 11 21 21

Theatre Royal, Newcastle                        www.theatreroyal.co.uk

On Sale Soon

Mon 31 Jan – Sat 5 Feb                            Box Office: 0131 5296000

King’s Theatre, Edinburgh                       www.capitaltheatres.com

Mon 7 – Sat 12 Feb                                  Box Office: 01225 448815

Theatre Royal, Bath                                  www.theatreroyal.org.uk

On Sale Soon

Mon 14 – Sat 19 Feb                                Box Office: 0844 871 3011

Theatre Royal, Nottingham                     www.trch.co.uk             

Mon 28 Feb – Sat 5 March                      Box Office: 0844 871 3011

Alexandra Theatre, Birmingham            www.atgtickets.com/venues/the-alexandra-theatre-birmingham

Tue 8– Sat 12 March                                Box Office: 029 2087 8889

New Theatre, Cardiff                                www.newtheatrecardiff.co.uk   

On Sale Soon

Mon 14 – Sat 19 March                           Box Office: 01242 572573

Everyman Theatre, Cheltenham            www.everymantheatre.org.uk

Mon 21 – Sat 26 March                           Box Office: 03330 096 690.

Richmond Theatre, Richmond               www.atgtickets.com/venues/richmond-theatre

Mon 28 March – Sat 2 April                    Box Office: 01604 624 811          

Royal and Derngate, Northampton       www.royalandderngate.co.uk

Mon 4 – Sat 9 April                                   Box Office: 0844 871 7627

Waterside Theatre, Aylesbury               www.atgtickets.com/venues/aylesbury-waterside-theatre

Mon 18 April – Sat 23 April                     Box Office: 0844 8717647

Theatre Royal, Glasgow                           www.atgtickets.com/venues/theatre-royal-glasgow

Mon 2 – 7 May                                          Box Office: 0333 009 6690

York, Grand Opera House                       www.atgtickets.com/venues/grand-opera-house-york

Free Theatre Auditions in Edinburgh this Weekend

Renowned talent management and theatre training programme, Stagebox, will be hosting its Edinburgh auditions at Dance Base, Scotland’s National Centre for Dance, on Sunday (16th May 2021). 

If you know a young performer aged 8-18 years old who is looking to take their talent to the next level, Stagebox is inviting auditionees to take to the stage at this weekend’s in-person audition workshops.

Successful talent will enjoy the exclusive award-winning performance training programme during the school holidays, as well as benefitting from the talent management at Stagebox.

For the first time, auditions are free of charge, with Stagebox founders keen to encourage everyone with a love of theatre to come along and audition.

https://youtu.be/ACfjwCqHAgY

Stagebox recently released a video featuring its Edinburgh cast performing an original medley from Disney’s The Little Mermaid on YouTube, so hopeful auditionees can envision just what it’s like to be part of the Stagebox world. The video has already amassed an impressive 5,000 views in less than a week.

With Stagebox alumni starring on stage and screen, many securing lead roles for Disney, Netflix, in the West End and beyond, Stagebox offers rising stars the chance to train smart, build industry connections and gain unrivalled opportunities in theatre, television and film.

Stagebox’s General Manager, Jasmine Quinlan Gardner, said: “It’s been a turbulent period for the performing arts industry to say the least, and we’re so delighted to be holding the free auditions in Edinburgh.

“Stagebox is about opportunity, and we’re thrilled to be celebrating the country’s budding talent.”

Kirsti Bagger, Head Agent at Stagebox said: “We’re looking to meet new performers with passion, ambition and star quality.

“We’re very passionate about accessibility and inclusivity which is why we’re removing audition fees this May – we welcome children from all backgrounds, from newcomers all the way up to advanced level and we can’t wait to see what the young people of Edinburgh have to offer!”

These auditions are guaranteed to fill up fast and limited spaces apply. To register your spot for the Edinburgh audition date, please visit Eventbrite.

To find out more about Stagebox, please head to: https://www.stagebox.uk/

*Auditions will be socially distanced in adherence with COVID-19 guidelines.

‘Cautious but optimistic’

Fringe update from Chief Executive Shona McCarthy

Last week, we announced to Fringe participants that we’ll be opening show registration – for both online and in-person performances – on Wednesday 05 May, in advance of the Fringe taking place from 06 – 30 August.

This is an exciting moment for the Fringe Society; it means all the preparatory discussions we’ve been having – with artists, venues, government and all members of the Fringe community – can finally be translated into action, with visible results.

The positive response we had to last week’s announcement only confirms what I knew in my heart – that there are many people out there who are just as excited and eager as we are to see the Fringe return!

Of course, opening registration is only the start of this process – we are acutely aware of how difficult the last year has been for artists, and we’re doing everything we can to support them in making work this year and beyond.

We’ve reduced registration fees across all tiers by 25%, and removed the top tier entirely.

We’ve also announced the opening a Fringe Artist and Venue Recovery Fund: a £75,000 funding pot which is available to Fringe companies, creatives and venues to support projects that will enable a return to the Fringe in 2021 or 2022.

The fund will prioritise projects that seek to improve opportunities for access on the Fringe by underrepresented groups – you can find out more at edfringe.smartygrants.com.au/recoveryfund

There’s certainly a lot more still to be done, but we feel this is the first of many steps we can take to support artists returning to the Fringe.

I recognise that any eagerness to restart the Fringe must be tempered by a sense of caution and responsibility.

We continue to work closely with Scottish Government and the City of Edinburgh Council, and keep a close eye on official guidance as it emerges and develops, using it to inform every decision we make.

The most recent news indicates some easing of restrictions by the end of June, which is definitely encouraging, but if the last year has taught us anything it’s that things can change at very short notice, so for those dreaming fervently of a fun-packed summer in Edinburgh, we strongly recommend an attitude of cautious optimism at this stage. 

It’s also important to remember that this year’s Fringe won’t be the same as it was. Even as restrictions relax, we still expect to see some form of social distancing and other safety measures in Edinburgh this August.

Again, we’ll work with venues and other partners to figure out how best to use this information as it develops, creating clear guidance for audiences and participants. We also know that it will not be possible to produce our usual printed programme this year, though we are exploring alternatives.

While it is right and appropriate that we manage our expectations about a return to live performance, I am full of positive anticipation to see how Fringe artists channel their extraordinary creative energy into digital work at this year’s festival.

As happens with any seismic change in society, artists have responded to online life in brilliant and inventive ways, and I think it entirely correct that the Fringe – with its longstanding reputation for unleashing the creative spirit – showcases the best in digital inspiration as well.

Silver linings to the past year’s events are few and far between, but the increased availability of innovative, imaginative work – work that can be accessed virtually anywhere – is surely among them.

With this in mind, we’ve put a lot of time and energy into developing our digital infrastructure for this year’s Fringe. We’ve ensured that, whichever online platforms artists and venues want to use, we can support them to do it; they’ll also have access to our own innovative Fringe Player.

In addition, we’re creating an exciting new online events programme and meeting space to help artists and industry connect and collaborate, which we’re hoping to launch in summer. 

With the seeds of carefully laid plans now blooming into life, our goal – as ever – is to support Fringe participants.

As mentioned above, registration (and the wide range of benefits and services that come with it) will open in May, and will remain open right through to the end of the Fringe with no deadlines attached.

We’re also continuing to invest in our website so that audiences can search, browse and book shows as easily as ever, helping them find the artists whose work will resonate with them for years to come.

All of our plans are being made cautiously but optimistically, and as ever, public health will be our priority. But we can take heart in the fact that the Fringe is happening. And, whether online or in a venue, I can’t wait to see you there.

Shona

New Funding for Live Theatre & Dance Performances

From today, Thursday 10 December 2020, applications are invited from the dance, theatre and multi artform sector for a share in £600K National Lottery funding through Creative Scotland, for live performance tours from Spring 2021. 

In this latest round of theTheatre and Dance Touring Fund, applications are invited from Scotland-based dance and theatre artists, companies and organisations, independent dance and theatre producers and venues, for the making and touring of new work or the restaging of previous work for presentation to live audiences under Covid-19 restrictions, in a minimum of three locations across Scotland. 

Iain Munro, Creative Scotland’s CEO said: “Supporting Scotland’s theatre and dance touring infrastructure is important, helping high quality theatre in Scotland to flourish and creating opportunities for more people across the country to experience and enjoy it.  

“Made possible by the generosity of National Lottery players who raise £30 million for good causes across the UK every week, this round of the Theatre and Dance Touring Fund responds directly to the challenging position that theatres, venues, producers, artists, companies and their audiences are in due to the Covid-19 pandemic.” 

Creative Scotland is also seeking five external panel members to work alongside Creative Scotland staff to decide the successful applications in this round of the Fund.

Panel members will be expected to hold credible professional knowledge and expertise of the Theatre and Dance Touring sector in Scotland, either from a programming perspective or as a maker/producer of touring work.  

The Deadline for applications is 12 noon, Thursday 7 January 2021 through the Scottish Government e-Tendering System, Public Contracts Scotland.  

Max Richter’s VOICES to unite global audiences on Human Rights Day

Max Richter and Yulia Mahr © Mike Terry

To mark Human Rights Day tomorrow (Thursday 10th December), composer Max Richter’s groundbreaking recording project VOICES, inspired by the Universal Declaration of Human Rights, will be broadcast for the first time on BBC Radio 3 and 35 international radio stations in Europe, the US, Australia and beyond, in collaboration with the European Broadcasting Union.

Max Richter and his creative partner Yulia Mahr will also participate in a global Q&A with the United Nations to mark the day.

Also on 10th December, Decca Records will release a brand new EP featuring four international language narrations of ‘All Human Beings’ (the opening part of VOICES) in French, German, Spanish, Dutch and English.

At the heart of VOICES is a profound sense of global community, born out of Richter and Mahr’s career-long stance that creativity can play an activist role in our world. The album provides a place to think about the questions facing us through the prism of the Universal Declaration of Human Rights. In a time of dramatic global change, VOICES offers a musical message of hope.

Richter and Mahr invited people around the world to be part of the piece, crowd-sourcing readings of the Universal Declaration of Human Rights to be interwoven into the work, which features an ‘upside-down’ orchestra. They received hundreds of submissions in over 70 languages. These readings form the aural landscape that the music flows through: they are the VOICES of the title.

Max Richter and Yulia Mahr say, “We are thrilled to have this opportunity to present VOICES once more. In these strange and challenging times it is more important than ever to keep the music playing and the message of the Universal Declaration alive. Thinking back now to the premiere of VOICES in February feels like visiting another world. In these strange and anxious times it is a great privilege to be able to mark Human Rights day by presenting the work again, in spite of the pandemic.”

HUMAN RIGHTS DAY

Human Rights Day is an opportunity to reaffirm the importance of human rights in rebuilding the world we want, with global solidarity, interconnectedness and shared humanity.

As part of Human Rights Day 2020, Max Richter and Yulia Mahr will collaborate with the UN to amplify the message of the Declaration of Human Rights. The Office of the United Nations High Commissioner for Human Rights (OHCHR) will host a Q&A with Richter and Mahr to discuss VOICES, as part of their digital Human Rights Day events and Mahr’s breathtaking video of ‘All Human Beings’ will also be shown on the OHCHR website.

The powerful themes of humanitarianism running through VOICES were informed by Yulia’s own upbringing.

She explains, “I was born in Hungary at a time when it was a Communist country. I have such vivid memories of our street, where the buildings were still peppered with bullet holes from the revolution in 56, and where some were still in ruins from World War Two.

In those days each person was allocated a certain predetermined amount of living space, so every flat would contain multiple generations or sometimes even different families. I lived with my great grandfather, my grandmother, aunts, father and mother in three rooms.

My grandmother had fled persecution by the Nazis to the safety of Chile for 20 years – and so in the confines of our flat I was raised on stories of escape, persecution, community and hope. My grandmother remained a humanitarian throughout her life – helping refugees and being part of an international movement towards peace.

In the end my own convoluted story saw my mother and I replicating the large scale migrations of the 20th century and I arrived in the UK aged eight – lonely, confused and desperate for security.

While I could rarely see my grandmother after that – her spirit has never left me and it is this spirit that informed the conception and writing of VOICES.”

INTERNATIONAL NARRATIONS OF ‘ALL HUMAN BEINGS’

The voice of Eleanor Roosevelt, who served as the first chairperson of the UN Commission on Human Rights and played an instrumental role in drafting the Universal Declaration of Human Rights can be heard at the start of ‘All Human Beings’, the opening track of VOICES.

Richter incorporates Roosevelt’s 1949 preamble reading of the Declaration into the piece alongside a narrator to convey a sense of youth and the future. On the album the narrator is acclaimed actor Kiki Layne (If Beale Street Could Talk, The Old Guard).

To mark Human Rights Day, Decca Records will release an exclusive EP of five new versions of ‘All Human Beings’ featuring multiple language narrations performed by acclaimed global artists.

Actor Nina Hoss (Yella, Homeland) reads in German, Iranian-born actor Golshifteh Farahani (Extraction, Paterson, About Elly) in French, author Marieke Lucas Rijneveld (winner of the 2020 International Booker prize or The Discomfort of Evening) in Dutch and María Valverde (Cracks, Exodus: Gods and Kings, Broken Horses) in Spanish. Olivier Award-winning actor Sheila Atim MBE, who will also perform in the BBC Radio 3 broadcast, narrates the new English version.

Richter says, “When I started thinking about how to present the Declaration, I came across a recording of Eleanor Roosevelt from 1949 reading the preamble. She’s so fundamental to the writing of the Declaration, it was really important to start with her.

“The narrators bring a sense of youth and potential in that performance because the Declaration is really about the future; it’s about the world we haven’t made yet. While the past is fixed, the future is yet unwritten, and the Declaration sets out an uplifting vision of a better and fairer world that is within our reach if we choose it. VOICES is a musical space to reconnect with these inspiring principles.”

BBC RADIO 3 AND GLOBAL EBU BROADCAST

The momentous global broadcast of VOICES will be recorded at BBC’s Maida Vale studios, presented by Elizabeth Alker. It will be presented in a new version for a 24-piece ensemble including strings, 4-member choir, electronics, solo soprano and narrator.

The BBC Radio 3 broadcast of VOICES features violinist Viktoria Mullova as soloist, soprano Grace Davidson, members of London-based vocal ensemble Tenebrae, the Max Richter ensemble – with Richter himself on keyboards and electronics – and Sheila Atim as the narrator.

36 European Broadcasting Union-associated radio stations in 34 countries will join the unique broadcast of VOICES, providing listeners across the globe with a renewed moment of hope and a moment of reflection in unprecedented times.

Max Richter and Yulia Mahr conclude, “We are thrilled about the partnership with the UN Human Rights Office, and the collaboration with BBC Radio 3 and the EBU which have made it possible to perform VOICES once more.

“In this challenging time in human history, the text of the Declaration is more important than ever.”

Youth Arts: Emergency funding details announced

Details have been announced of the first two funds of a £3million Scottish Government emergency funding package designed to ensure creative opportunities for children and young people continue across Scotland in the wake of the COVID-19 pandemic.

A total of at least £1.2million in now available through the Access to Youth Arts Fund. Building on the successful Youth Music Initiative (YMI) Access to Music Making Fund, this is designed to support an increased range of music-making projects, as well as introducing projects delivering across wider art-form areas.

Fund guidelines including eligibility criteria and application forms can be accessed on the Creative Scotland website.

The roll out of the Youth Arts funds will continue on Thursday 24 September with the launch of a £700,000 Small Grants Scheme which will be open to organisations and local authorities and will provide funding directly to freelance artists to undertake artist led youth arts activities within communities. Full details will be announced on Thursday.

A further £50,000 is being assigned to the Time to Shine Nurturing Talent Fund which provides direct support to young people to develop and produce their own creative projects.

In addition, £1,050,000 is being allocated to support a number of targeted national and local area youth music and wider youth arts organisations with established track records and existing relationships with freelancers working with the fund’s priority groups to support the recovery and renewal of youth arts provision.

These organisations will be invited to apply for the Youth Arts Targeted Fund by Tuesday 13 October.

Culture SecretaryFiona Hyslop said: “We are determined that our children and young people will not miss out on creative opportunities a result of the coronavirus (COVID-19) pandemic.

“Art and music in particular have helped many people during lockdown, so the launch of these funds is very welcome. Our musicians, artists and other practitioners working in the youth arts sector are also highly skilled and often highly specialised, and this funding will provide jobs and opportunities within the sector.”

Iain MunroChief Executive, Creative Scotland said: “I’m pleased to be able to announce today the roll out of additional funding support for Youth Arts, a vital part of Scotland’s cultural sector and an important part of the emergency funding package announced a few weeks ago by the First Minister.

“It’s right that part of that overall emergency package supports artists, freelancers and organisations working with young people and that creative opportunities for young people continue despite the impact of the Covid-19 pandemic.”

The Youth Arts funds are the latest of five new emergency funds from Scottish Government through Creative Scotland, announced by the First Minister on Friday 28 August, as follows:

  • The £15million Culture Organisation and Venues Recovery Fund, which has opened for application today, Thursday 17 September, with a deadline of Thursday 24 September.
  • The £3.5million Independent Cinemas Recovery and Resilience Fund, which opened for applications on Monday 14 September with a deadline of Monday 5 October.
  • The £5million Creative Freelancer Hardship Fund for which we issued an open call for partner organisations to help us distribute this fund on Friday 11 September with a deadline of Friday 25 September. We aim to be able to distribute funds from October. The Screen element of these Hardship Funds will open for application on Tuesday 22 September.
  • The £5million Sustaining Creative Practice Fund includes £1.5million for the Culture Collective programme, mentioned in the Scottish Government’s Programme for Government, supporting organisations employing freelance artists to work in and with communities across Scotland. The remaining £3.5million has been added to Creative Scotland’s existing open fund which is open for applications from individuals now.

Previously announced, the £2.2million Grassroots Music Venue Sustainability Fund closed for applications on Thursday 3 September. The fund has received 97 applications and awards will be announced on Tuesday (22 September).

And the £5million open call element of the Performing Arts Venue Relief Fund closed for applications on Thursday 27 August. The fund received 42 applications and awards will be announced by Thursday (24 September).

Updates on all emergency funds are being published regularly on the Creative Scotland website and publicised through media and social media communications.

Council has made ‘a huge amount of progress’, say Council leaders

The City of Edinburgh Council has delivered sustained improvements over the last 12 months and is continuing to fulfil its longer-term commitments, according to new bench-marking reports.

Demonstrating the Council’s continued focus on investing, delivering and improving the services that matter most to residents, the city’s annual performance report reveals good progress in a number of key areas while also recognising there is room for improvement still to be made.

The findings will be considered alongside the latest Local Government Benchmarking Framework and an update on the Capital’s Coalition Commitments.

Elected members will discuss achievements to date – including improvements in road and waste services, reducing carbon emissions and increasing educational attainment – and how we are working to improve more areas at a meeting of the Policy and Sustainability Committee on Thursday (20 August).

Council Leader Adam McVey said: We’ve made a huge amount of progress over the last 12 months and the results of many of the changes we’ve introduced are clear to see.

“Thousands of new homes are being built, our road condition is getting better and educational attainment across our communities is improving. We’ve seen another significant drop in waste complaints and carbon emissions showing we can continue to improve our basic services while working towards our long term ambitions for Edinburgh. These figures show we’re recording better performance in many areas we know are important to residents.

“We’ll continue to work hard for our citizens and prioritise the issues that matter to them. We face a number of challenges which weren’t foreseen and our plans on how the City adapts to COVID will help us sustain progress, prioritise investment to drive down carbon emissions further and support those residents most in need.

“Despite the challenges which still lie ahead, we remain committed to building on all of the achievements we’ve made to date. With nearly two years until the next Council election we’re well on our way to achieving 48 of our 52 Coalition Commitments, having delivered plans for more classroom assistants and smashed our target for new trees with a net increase of more than 12,000 delivered so far.

“Major infrastructure improvements like the new Meadowbank Sports Centre and Tram to Newhaven are crucial to our City’s wellbeing and sustainable future as are the thousands of new low-carbon homes being built. COVID has shown us how fragile progress can be but it’s also shown us how much we can do with the will to do it.”

Depute Leader Cammy Day said: “We deliver over 700 services every year for residents and visitors, from Council housing and care homes to making sure children receive the right start in life and the education they deserve.

“As we provide these services, our priority is to support our most vulnerable residents, focus on sustainable growth and address poverty – so I’m pleased to see a lot of improvements made in areas like health, the environment and education.

“While a great amount of progress has been made, there are still areas for improvement and we’re working to address these. The inequality gap still exists and we will continue to do all we can to make Edinburgh a more inclusive city, particularly as we recover from the COVID pandemic.

Alongside annual progress, we also need to look to the future. Our Coalition Commitments will put measures in place to make Edinburgh the fairer, greener City we are aspiring to.

The latest performance updates emerge from work the Council has carried out to focus improvements in line with the Council’s Change Strategy, Coalition Commitments and the results of the Edinburgh 2050 City Vision.

Amongst the highlights, the set of reports record:

ROADS AND WASTE
• A drop in domestic missed bin collection requests, down >5,000 in just two years (17,690 vs 22,853 in 2017/18)
• Almost all emergency road defects made safe within 24 hours (98% vs 95% in 2018/19)
• Almost all priority road defects repaired within five days (94% vs 81% in 2018/19)

CARBON EMISSIONS
• A reduction in Council and Edinburgh Leisure emissions (37% reduction to 2005 baseline)

SCHOOLS
• More pupils achieving early level reading (84%) and school leaver literacy and numeracy (67.1%) targets
• More school leavers heading into an initial positive destination (95.1%)

HOMES
• A rise in new homes being built (3,006 projected for this year vs 1,832 in 2017/18)
• A rise in new homes being approved (1,930 which is 230 above target vs 1,475 in 2017/18)
• A decrease in repeat presentations of homelessness (5.5% vs 7.9% in 2017/18)

HEALTH
• A downward trend in people delayed awaiting discharge from hospital (156 vs 267 in 2017/18)
• A downward trend in the number of people waiting for a package of care in hospital (48 vs 151 in 2017/18)

CUSTOMER CARE
• Increased customer satisfaction with the Council’s contact centre (76%)
• Quicker processing of claims and grants, including half the time taken for benefit claims (16.75 days vs 30.9 in 2017/18)

COUNCIL COMMITMENTS
Progress delivering Coalition Commitments (48 out of 52 fully or partially achieved), including successfully:
• Increasing the number of classroom assistants and support staff for children with additional needs to improve attainment and wellbeing
• Increasing allotment provision and support and expanding the network and the number of community gardens and food growing initiatives
• Upgrading parks and planting an additional 1,000 trees in communities
• Protecting Edinburgh World Heritage Status
• Exploring the introduction of fair rent zones, a workplace parking levy and transient visitor levy (TVL)
• Retaining Lothian Buses and Edinburgh Tram in public ownership
• Continuing the Council’s policy of no compulsory redundancies.

‘Very cautiously excited’: live theatre this month?

Experts in site specific and promenade theatre, Edinburgh-based Grid Iron Theatre Company hopes to bring a world premiere of Doppler to audiences later this month.

With very limited audience numbers of up to 20 people, this outdoor, socially distant show would have a limited run starting on or after 24 August with venue and exact dates still to be confirmed.

Judith Doherty, Chief Executive and Co-Artistic Director of Grid Iron Theatre Company said: “We are very cautiously excited about the possibility of bringing Doppler to Edinburgh audiences this August.

“We have been developing the show for over a year now and had hoped to bring it to Edinburgh Festival Fringe. Doppler was always meant to be an outdoor show and with our experience of producing shows in unusual spaces, we remain hopeful that we will be able to proceed with our plans. We are currently awaiting confirmation of our venue and then we can proceed with securing the required licensing.

“Having said that, we acknowledge the situation is developing fast and we might need to adapt quickly. We understand that 24 August, the date announced by the Scottish Government today as potentially the first day of live outdoor performances being allowed back in Scotland, is an indicative date which will be reviewed in 3 weeks.

“Safety and comfort of our audiences and team are always our top priority and we are simultaneously working on plans for a non-live sharing of Doppler.”

Adapted and directed by Ben Harrison, produced by Judith Doherty, with dramaturgy by Eszter Marsalko and translated by Don Bartlett and Don Shaw, Doppler is an adaptation of a satirical novel by a Norwegian writer Erlend Loe.

It focuses on Doppler, a man who, following the death of his father, decides to abandon his family and move to the forest on the outskirts of Oslo. He is determined to live a life as far removed from his previous as possible but struggles to maintain his isolation as his existence garners a lot of unwanted attention.

Ben Harrison, Adaptor, Director and Co-Artistic Director of Grid Iron said: “Doppler has been planned for a couple of years but takes on new and unexpected resonances in the context of the pandemic. The central character is jolted out of his comfortable Norwegian existence by a bicycle accident and determines to live an isolated life in the forest away from his family and social circle.

“Determined to live a deliberately simple existence, a life fused with the rhythm of the forest, he slows everything right down. Through his comical one-sided dialogue with an orphaned elk calf that he adopts, muses on life, the excesses of capitalism, fathers and sons and the footprint we leave on the world.

“As the months move slowly by however, his alternative lifestyle of bartering and hunter-gathering attracts some unwanted attention, and he finds being alone not nearly as simple and straightforward as he had hoped.”

Known for the role of Lesley in OutlanderKeith Fleming is Doppler with Grid Iron-regulars Itxaso Moreno and Sean Hay portraying all the remaining characters. The Company is also working with several talented freelancers, including Fergus Dunnet who is producing the puppets for the show, David Pollock on music and foley and Becky Minto who is responsible for design.

Following weeks of Zoom meetings, the Company has now begun outdoor rehearsals strictly following all the safety measures. These include not only face masks, hand sanitizing and social distancing but also taking people’s temperature at home and then again in the outdoor rehearsal space, props being handled by only one person, introduction of a clean objects area after they are sanitized and shorter rehearsal days to avoid having to take meal breaks.

The Company is also making it possible for people not to have to travel to work by public transport unless they are absolutely comfortable to do so and if yes, only outwith peak times.

The very strict health and safety regulations also impact on the design of the show with rigging and lighting designed to be handled by only one person at all times and actors wearing their own clothes and bringing some of the props from home.

Grid Iron Theatre Company has decades of experience of producing theatre in non-theatre, often outdoor spaces and is widely recognised as experts in audience management.

Its past productions include Roam presented at the Edinburgh Airport, Decky Does Bronco in parks and play areas across the UK and Ireland, Dr Stirlingshire’s Discovery at the Edinburgh Zoo and Crude, produced at a huge former oil-rig manufacturing shed in the Port of Dundee.

The Company is closely following the Scottish Government’s guidelines and is in touch with local authorities, and remains hopeful the staging of Doppler late in August will be possible. It recognises however that the current landscape is uncertain and everchanging and as such, is preparing for the eventuality that the live outdoor show will not be able to proceed.

If that happens, Doppler will be shared with audiences digitally as a filmed performance.