Edinburgh’s pupils continue to be among the best performing in Scotland
Results from the SQA Insight report shows Edinburgh’s learners are performing better than their virtual comparators in 14 out of 15 key measures, with 7% more pupils gaining at least one Advanced Higher than in other areas in Scotland.
Edinburgh learners are also out-performing their virtual comparators in Literacy and Numeracy for all stages and levels.
A virtual comparator is a sample of students from other areas of Scotland who have similar characteristics to a school’s students.
The news builds on the SQA exam results in August showing levels of attainment for pupils across Edinburgh remaining above those achieved before the Covid pandemic.
Insight provides teachers and lecturers with a summary of how learners have performed in their exams and coursework for each subject at National 5, Higher and Advanced Higher level over the past year.
Councillor Joan Griffiths, Education Convener for the City of Edinburgh Council, said: “This has been another positive year for our pupils. I want to congratulate them, as well as all our teaching and support staff. Their hard work has certainly paid off and praise should go to them as well as all the parents and carers who have supported the children.
“I welcome the results from the SQA Insights report. We have invested heavily in improving the skills of our workforce and I am confident that our staff will continue to improve the quality of teaching and learning to meet the needs of the city’s young people.
“Let’s not forget there is no wrong pathway for our young people as everyone’s learner journey is different. School is about ensuring all our young people are able to fulfil their potential by attaining the highest level of achievements possible and by receiving the best possible experience.
“We want all our learners to find their pathways into the world of higher and further education, employment or training and to narrow the gap between those living in different areas of affluence.”
Course reports – written by principal assessors and principal verifiers – are published to give an insight into how learners performed, detailing which areas of the course assessment where learners performed well, and which areas proved to be more demanding.
Principal assessors and other senior appointees are experienced teachers and lecturers who work with SQA to produce the course reports and highlight examples where candidates have performed well in their external assessments.
The reports also contain advice for teachers, lecturers, and training practitioners on preparing learners for the coming year’s assessments, as well as statistical data relating to grade boundaries.
Katherina Radeva’s life-affirming performance piece, 40/40, has been specially selected to showcase at the world’s most prestigious international contemporary dance industry gathering, internationale tanzmesse nrw, taking place in Dusseldorf from 28 – 31 August.
The critically acclaimed 40/40 from Two Destination Language (a collaboration between Katherina & Alister Lownie) is one of a small number of full-length, tour-ready productions invited from across the world (and the only one from the UK from 900 proposals) for the event’s revered Performance programme.
Designed to showcase the latest ‘originality of movement and choreographic practice, relevant topics and aesthetics, a wide geographic spread, and a diversity of backgrounds’, the Programme is keenly anticipated by international artists, promoters and programmers.
Described as ‘dancing joy in defiance of convention’, in 40/40, Katherina celebrates her 40 years as a woman, a migrant and an artist.
Katherina says: “The production is the result of 40 years of joy, migrancy and hardship, laughter and tears, super tunes and super moves.”
Audiences are invited to ‘join the middle-aged woman revolution by dancing, claiming and reclaiming the beautiful, glorious and messy complexities of womanhood. From the little girl dancing at her parents’ student parties, to the teenage rhythm gymnast who was body-shamed, to the creative who refuses to be categorised, 40/40 comprises all the joys and sorrows of 40 years.’
Katherina added: “40/40 is a work which pushes at so many boundaries with humour and joy and for us it is a real privilege to be a part of the current dialogues and critical thinking in dance.”
40/40 received research and development funding from The National Lottery through Creative Scotland and support from Tramway Glasgow and Dance Base Scotland.
Alongside 40/40, Scotland-based artist, Dr Aby Watson has been selected to present their work Back and Forth and Forth and Back – a new work in development as part of the event’s Insights programme.
Commissioned by Unlimited, with funding from Creative Scotland and support from The Work Room, The Royal Conservatoire of Scotland and Level Centre, Aby’s emerging piece is an immersive, experimental choreography of rhythm, repetition and sensorial play that centres neurodivergent adult audiences, with the performance embodying Aby’s innovative practice research in neuroqueer choreography.
Ahead of the gathering, Aby says: “I hope to connect with delegates who share my values with radical access and inclusion, and make connections with producers, venues, festivals, and other artists to support the development of my work, whilst experiencing exciting international dance work to nourish myself creatively.”
In addition to the artists who will be performing, The Work Room (supported by The National Lottery through Creative Scotland) is supporting a delegation of independent dance artists and choreographers from across Scotland to attend including Mark Bleakley, Mele Broomes, Salma Faraji, Bridie Gane, Dorine Mugisha, Skye Reynolds and Kathryn Spence.
For full information about our delegates, take a look at our dedicated Tanzmesse 2024 webpages on the Creative Scotland website.
Anita Clark, Director at The Work Room said: “International collaboration and exchange expands our perspective and understanding.
“Through the Dance from Scotland presence at International Tanzmesse nrw 2024, dance artists from Scotland will have the opportunity to meet with peers from across the world and develop vital international connections to further their work.”
Paul Burns, Interim Director of Arts at Creative Scotland said: “We are excited to be spotlighting the incredible talents of Scottish artists at this most important of international platforms for contemporary dance and performance.
“Scotland rightly has a strong reputation for both showcasing and creating world-class dance, with Scottish companies regularly touring the globe, or welcoming exceptional international artists to our shores.
“The event has an unparalleled potential to support delegations from Scotland to develop their networks and unlock a range of international opportunities.”
WISHING my CITIZEN friends and colleagues good luck as they take to the stage at Edinburgh International Book Festival this evening.
They will be reading their stories about the old Royal Infirmary in Edinburgh Futures Institute, which was built on the grounds of the old Royal off Lauriston Place.
In spring 2024 EIBF called for people from Edinburgh to submit stories about the former Royal Infirmary, to capture and honour the experiences and memories that people connect with the building’s previous life.
Tonight’s local writers readers will joined by special guest Lisa Williams to perform their work and commemorate the building’s rich history.
The event is free – well worth seeing if you can make it along!
The Besties is a new series of awards celebrating the best across Edinburgh’s August Festivals. The Award is a partnership between The Skinny & Fest, Capital Theatres and Premier Scotland.
The Skinny and Fest, Capital Theatres and Premier Scotland are delighted to announce the winners of the second round of the weekly new Festival Awards, The Besties, in the following categories:
The award ceremony took place on Saturday 17th August at the Festival Theatre in Edinburgh, hosted by comedian Josephine Lacey whose show Autism Mama is at the Pleasance Courtyard, with performances from Orkney musician Catriona Price who performed earlier this week at Queen’s Hall and Edinburgh New Town Church, celebrating her debut album, Hert.
The Besties award, designed by artist Camillo Feuchter who has recently graduated fromInterior & Environmental Design at Duncan of Jordanstone College of Art and Design in Dundee, uses recyclable plastics gathered at the Festival Theatre Café and leftover wood sourced locally.
Reflecting the broad and diverse coverage both magazines produce every summer and responding to the need for a pan-festivals award, The Besties span all the festival activity taking place in the city over the month of August, including the Edinburgh Festival Fringe, Edinburgh International Festival, Edinburgh Art Festival, Edinburgh International Book Festival, Edinburgh International Film Festival which started on Thursday 15 August, and others, making them the one of the only awards to celebrate the full spectrum of culture in the city.
Winners of The Besties are chosen each week by the editorial teams of The Skinny and Fest, drawing on their cross-festival expertise to celebrate the best work happening anywhere in the festivals. The categories will reflect the diversity of the magazines’ coverage and might be different every week.
The third and last ceremony will take place on Saturday 24th August.
Edinburgh local attends her 18th Fringe Festival after seven decades of performing arts
A CELEBRATED 77-year-old performer is marking a milestone as she gears up for her 18th appearance at the Edinburgh Fringe Festival, proving that passion for the arts knows no age.
Elizabeth Frances Dell, fondly known as Lyzzie, has been captivating audiences since she was seven.
Now at 77, she continues to shine, delighting thousands of art lovers annually as a dedicated member of the Edinburgh People’s Theatre.
Despite facing a stroke five years ago, Lyzzie has remained undeterred, continuing to audition and perform.
The former teacher and nurse is set to showcase her talents in the Scottish comedy ‘Ne’er the Twain’ at this year’s Fringe Festival.
Reflecting on her journey, Lyzzie said: “I went to the Stage School of Dance when I was seven and that was when I first started getting involved in the arts, from tap dancing and singing to pantomime and Scots comedy, but I truly love all forms of theatre.
“It must have been about 2006 when I started going to the Fringe shows. Even when I’m not on stage, I’m involved in some capacity.
“I really don’t know how many auditions I’ve done because they’re not always successful and you have to accept that. The director knows who would be best for the play, and it’s about fitting in with the whole picture. So, I’m quite happy.
“If I don’t get the part, I’ll do front of house, backstage, or anything else. It’s the teamwork that makes a play work.”
Her latest production Ne’er the Twain – an historical comedy about the amalgamation of Leith and Edinburgh – is running throughout the Fringe at Mayfield Salisbury Church.
Lyzzie said: “It takes place when Edinburgh is going to be amalgamated with Leith and of course Leith didn’t want it, and I learned the history from this.
“When Edinburgh wanted Leith to join up, there was a referendum in Leith and the Leithers just said, ‘absolutely no chance.’ However, Westminster overruled and that is how Leith became part of Edinburgh
“I play Nellie, she’s the old auntie in it and she’s got wee bit secrets to her bow, but she’s a bit of a rogue.”
Lyzzie also puts on regular community performances from shows for the homeless to routines in numerous churches, as well as outdoor performances such as the Edinburgh Easter Play with Cutting Edge Theatre.
None more so benefit from the Edinburgh local’s creativity than the tenants at Hanover Scotland’s Roseburn Court, where Lyzzie has lived for more than 17 years – making her the development’s longest residing tenant.
Lyzzie added: “I’ve been here 17 and a half years, and truthfully, I didn’t want to come at first, but it was the right thing to do. It’s a lovely place to live and I look right onto Roseburn Park and it’s just a nice place to be.
“I’m very lucky to be here. Anytime I have needed help they’ve been tremendously supportive. That’s part of the joy of living here knowing that if anything happens, I will get help and my family doesn’t need to worry. It takes the worry off their shoulders. It’s lovely.
“They have also allowed me to embrace my creative spirit, I help put on regular performances for the other tenants that live here and it really does create a closeknit community.”
Lyzzie hopes that she can continue entertaining people on the stage in whatever capacity she can. She said: “As long as somebody wants me, I’ll do it.
“Whether I am out there performing or helping with props or costumes I just love being involved and putting on a show. Drama is just a very special place to be, it’s just full of amazing characters.”
Hanover Scotland, a pioneering non-profit organisation founded in 1979, empowers independence by providing safe and secure social housing, enabling residents to live fulfilling, independent lives.
With more than 4,500 homes throughout Scotland, Hanover Scotland supports older adults in vibrant local communities.
Guided by values of respect, accountability, collaboration, and inclusion, Hanover Scotland continues to provide excellent, affordable, and modern housing services to meet the diverse needs of its tenants.
The 2024 Edinburgh International Festival begins today with the first of more than 160 events in an exhilarating 24-day celebration of opera, dance, music and theatre in Scotland’s capital city. More than 2,000 internationally renowned artists from across 42 nations, including more than 1,000 Scottish artists, will perform.
The International Festival opens with Opening Event: Where to Begin, an immersive outdoor experience in partnership with The Macallan single malt Scotch whisky. The event is set to welcome thousands in central Edinburgh, blending installation, projection and live performance for only three nights, from2 – 4 August.
First week highlights include: the world-premiere staged adaptation of Amy Liptrot’s bestselling memoir The Outrun, the Scottish premiere of Argentinian composer Osvaldo Golijov’s La Pasión según San Marcos, and the UK production premiere of Carmen, direct from Paris’s legendary opera house, Opéra-Comique.
To ensure that cost isn’t a barrier to cultural discovery, 2024 sees our most generous concessions policy to date: 50% of tickets for the 2024 International Festival are sold at £30 or less. More than 4,000 £10 Affordable Tickets across every event in the programme have already been allocated to those who need them, and many more are still available. Tickets can be purchased from www.eif.co.uk.
TODAY, the Edinburgh International Festival opens its 24-day programme of more than 160 events for its 77th edition. The original festival, the one that started it all in Edinburgh, runs 2 – 25 August, and features a hand-picked programme of the world-leading artists in theatre, dance, music and opera, framed by the theme of ‘Rituals That Unite Us’.
More than 2,000 artists from across 42 nations will perform at the International Festival this August, in a major moment in the international arts calendar. Over 1,000 of these performers are from Scotland, and all five Scottish national performing arts companies are represented in this year’s programme.
In 2024, Festival Director Nicola Benedetti’s second year, the International Festival brings 5 world premieres, 13 UK and Scottish premieres, and 2 European premieres to Edinburgh, including an extensive opera programme, with promenade opera Oedipus Rex in the National Museum of Scotland and two staged operas from major international companies: Carmen from the Opéra Comique and The Marriage of Figaro fromKomische Oper Berlin.
Kicking off the International Festival, Opening Event: Where to Begin invites nearly 10,000 visitors and locals alike to ignite their festival season with a communal experience which evokes the mythology and history of Scotland’s rich heritage. The new event in Edinburgh’s festival traditionwill transform the grounds and magnificent renaissance architecture of George Heriot’s with immersive installation, live performance and video projection.
Presented in partnership with The Macallan, with creative producer Pinwheel and support from EventScotland, the Opening Event runs across three nights from Friday 2 August to Sunday 4 August. Tickets are available online for £15 and concessions from £7.50 are available.
The first week of the International Festival also features not-to-be-missed performances from some of the world’s leading artists, including:
The world premiere of The Outrun,the stage adaptation of Amy Liptrot’s best-selling memoir. Brought to life by Olivier Award-winning playwright Stef Smith, director Vicky Featherstone and Edinburgh’s producing theatre The Royal Lyceum Theatre Company,The Outrun will run throughout August at the Church Hill Theatre.
The most popular French opera in the world, Carmen, direct from Opéra-Comique – the Parisian opera house where it all began. The new production of Georges Bizet’s masterpiece is brought to the stage by director Andreas Homoki, the Scottish Chamber Orchestra, and Music Director of the Opéra-Comique, Louis Langrée, with an international cast led by Gaëlle Arquez as Carmen; runs 4-8 August at the Festival Theatre.
A two-part opening weekend exploring different ways of telling the same story, with two distinct interpretations of the Passion: Latin American and Afro-Cuban musical styles mix with contemporary classical expressions in the Scottish premiere of Osvaldo Golijov’sLa Pasión según San Marcos,on 3 August at Usher Hall. On 4 August at Usher Hall, the BBC Scottish Symphony Orchestra, their Chief Conductor Ryan Wigglesworth and the Edinburgh Festival Chorus take on Johann Sebastian Bach’s masterpiece, the St Matthew Passion.
The UK premiere of Penthesilea,Internationaal Theater Amsterdam’s production of Heinrich von Kleist’s classic. Ferocious and emotionally charged, Penthesilea is a powerful fusion of a rock concert and an ancient tragic love story, likened to Baz Luhrmann’s Romeo + Juliet; runs 3-6 August at The Lyceum.
The Scottish premiere of Please right back, award-winning company 1927’s new family production combining fantastical animations with bold storytelling to explore the effects of the criminal justice system; runs 2-11 August at The Studio.
2024’s programme also offers an increased range of innovative and informal audience experiences, designed to create a closer union between artists and audiences.
Beanbag concerts are back after popular demand, designed to immerse audiences in an orchestral experience. Inspired by the work of Budapest Festival Orchestra founder and conductor Iván Fischer, audiences can take in the thrill and drama of the orchestra from the comfort of a beanbag or choose standard seating in the circle or balcony. Beanbag seating is still available for concerts by Brazil’s Ilumina, the Edinburgh Festival Chorus and the European Union Youth Orchestra conducted by Gianandrea Noseda.
The Hub, the International Festival’s home on the Royal Mile, once again hosts the most intimate performances in informal surroundings. During August, The Hub is home to The Hub Club Cafe (11am-6.30pm; food service until 5pm) & Bar (6.30pm – late), with drop-in open-doors rehearsals and ‘Ask the Artist’ moments on select days. The Hub music series is truly international – spanning Scotland, Ireland, Wales, India, China, Argentina, Brazil, Indonesia, Kyrgyzstan, US, Germany, Egypt, Estonia and West Africa, with these artists sharing their musical heritage, cultures and rituals.
Edinburgh International Festival Director, Nicola Benedetti said: “As we raise the curtain to open this year’s Edinburgh International Festival, we’re reminded of the power of art to unite and inspire us all.
“One of the most moving things in the world, to me, is to see mass, collective effort at work. Each person adding their expertise and experience to make the whole greater than the sum of its parts – and this year’s International Festival programme is the epitome of such a thing.
“I can’t wait for us all to come together this month, to seek, feel and discover something new.”
The 77th Edinburgh International Festival continues to 25 August.
To purchase tickets and for more information, visit www.eif.co.uk.
In this Account Commission briefing about Scotland’s Integration Joint Boards (IJBs), we report that community health and social care faces rising unmet need and managing the crisis is taking priority over prevention due to the multiple pressures facing the bodies providing these services.
IJBs plan and commission many vital community-based health and care services.
People
One in 25 people in Scotland receive social care.
Expected to rise sharply due to an ageing population – 76% of people receiving health and social care are aged 65 and over.
By mid-2045, the number of people aged 65 and over is set to grow by nearly a third.
Performance
Where data is available, nationally there has been a general decline in performance of services and outcomes for people.
Data quality and availability is insufficient to fully assess the performance of IJBs and inform how to improve outcomes for people who use services with a lack of joined- up data sharing.
Care
Community health and social care faces unprecedented pressures and financial uncertainty. We have not seen significant evidence of the shift in the balance of care from hospitals to the community intended by the creation of IJBs.
Finances
IJB funding has decreased by £1.1 billion (nine per cent) in real terms to £11 billion in 2022/23. The funding gap is set to triple in 2023/24.
IJBs are making savings by not filling staff vacancies and using their financial reserves, but this is not sustainable.
Staffing
Vacancies are at a record high. Nearly half of services report vacancies. A quarter of staff leave jobs within their first three months. And there is continued turnover in senior leadership.
Action is needed now
IJBS need to share learning to identify and develop:
service redesign focused on early intervention and prevention.
approaches focused on improving the recruitment and retention of the workforce.
improvement to the data available.
commissioning approaches that improve outcomes for people.
ensure that their financial plans are up to date.
IJBs need to work together and with other stakeholders to:
ensure that the annual budgets and proposed savings are achievable and sustainable.
ENGLAND’S SOCIAL CARE WATCHDOG ‘NOT FIT FOR PURPOSE
The Care Quality Commission (CQC), the body responsible for regulating adult social care services in England, is ‘not fit for purpose’, according to the health secretary Wes Streeting.
Health and Social Care Secretary Wes Streeting was responding to an independent review that identified ‘significant internal failings’ within the health and social care regulator.
The interim report, led by Dr Penny Dash, chair of the North West London Integrated Care Board, found the number of inspections being undertaken were well below pre-Covid levels.
It also revealed a lack of clinical expertise among inspectors, a lack of consistency in assessments and problems with the CQC’s IT system.
Commenting on her findings, Dr Dash said: ‘The contents of my interim report underscore the urgent need for comprehensive reform within the CQC.
‘By addressing these failings together, we can enhance the regulator’s ability to inspect and rate the safety and quality of health and social care services across England.’
Mr Streeting commented: ‘When I joined the department, it was already clear that the NHS was broken and the social care system in crisis.
‘But I have been stunned by the extent of the failings of the institution that is supposed to identify and act on failings. It’s clear to me the CQC is not fit for purpose.’ Kate Terroni, CQC’s interim chief executive, said the regulator accepts in full the findings and recommendations of the report.
‘Many of these align with areas we have prioritised as part of our work to restore trust with the public and providers by listening better, working together more collaboratively and being honest about what we’ve got wrong,’ she said.
‘We are working at pace and in consultation with our stakeholders to rebuild that trust and become the strong, credible, and effective regulator of health and care services that the public and providers need and deserve.’
The interim findings of the review of our operational effectiveness led by Dr Penelope Dash have been published this morning.In response, Kate Terroni, our interim chief executive, said: “We accept in full the findings and recommendations in this interim review, which identifies clear areas where improvement is urgently needed.
“Many of these align with areas we have prioritised as part of our work to restore trust with the public and providers by listening better, working together more collaboratively and being honest about what we’ve got wrong.
“We are working at pace and in consultation with our stakeholders to rebuild that trust and become the strong, credible, and effective regulator of health and care services that the public and providers need and deserve.
“Work is underway to improve how we’re using our new regulatory approach. We’ve committed to increasing the number of inspections we are doing so that the public have an up-to-date understanding of quality and providers are able to demonstrate improvement.
“We’re increasing the number of people working in registration so we can improve waiting times. We’re working to fix and improve our provider portal, and this time we’ll be listening to providers and to our colleagues about the improvements that are needed and how we can design solutions together.
“We’ll be working with people who use services and providers to develop a shared definition of what good care looks like. And we’re also developing a new approach to relationship management that enables a closer and more consistent contact point for providers.
“Additionally, to strengthen our senior level healthcare expertise, we have appointed Professor Sir Mike Richards to conduct a targeted review of how the single assessment framework is currently working for NHS trusts and where we can make improvements.
“Sir Mike’s career as a senior clinician, and a distinguished leader of high-profile national reviews, as well as his direct experience of driving improvement through regulation, make him uniquely placed to conduct this work.”
P6 pupils from the Royal Mile and Abbeyhill Primary Schools and student dancers from Moray House School of Education and Sport came together yesterday to perform Junk Food, written and created for this year’s Pomegranates Festival.
Over the course of the spring term, pupils at both schools took part in several workshops to discuss themes such as why people dance, what dance looks like, and chose a topic of their choice to create a dance piece that was relevant to them.
The pupils chose to discuss ‘Junk Food’ and used this theme to create a short dance piece accompanied by new electronic music by Gourab Dey, with the help of students at the University. The pupils worked on themes like ‘hangry’ and what this looked like as a dance movement, and after several rehearsals they created today’s final dance piece.
Wendy Timmons, Co-Producer of Pomegranates Festival and Senior Lecturer in Dance at Moray House School of Education and Sport said:“Many children that we work with in schools experience dance as part of physical education, and therefore the aesthetic experience of being in a theatre and being on stage is completely new.
“What this project aimed to do was to create a dance piece using their ideas so they would feel more connected with the process. Today’s performance illustrates the quality of work that this process can create, and this came across in the piece.”
The Pomegranates Festival runs until tomorrow (Tuesday 30 April) and is Scotland’s annual festival of international traditional dance.
Initiated and curated by Traditional Dance Forum of Scotland it is presented and produced in partnership with Traditional Arts and Culture Scotland, Moray House School of Education and Sport, University of Edinburgh, Edinburgh City Libraries, Dance Base and the Scottish Storytelling Centre.
The Festival finishes with a finale performance on International Dance Day 29 April which includes a new piece of dance created by MC, hip-hop dancer and choreographer-in-residence Jonzi D and performed by 20 Edinburgh-based traditional dancers.
The piece will be accompanied by newly-commissioned poetry by Perth-based poet Jim Mackintosh who will also be launching his new book of poetry We are Migrant at the event, and poems by BBC broadcaster Ian McMillan.
Plus, there will be a screening of a new film by contemporary visual artist and human rights activist Mare Tralla who has been artist-in-residence at this year’s festival.
There will also be a live streamed keynote lecture by Jonzi D on ‘Decolonising the Expressive Arts Curriculum’ tomorrow – Tuesday 30 April at 10am at Paterson’s Land, Moray House School of Education and Sport, Holyrood Road, Edinburgh EH8 8AQ.
The evening marked the opening of The Scottish Institute of Theatre, Dance, Film and Television following renaming and opening of new campus
The Scottish Institute of Theatre, Dance, Film and Television(The SI; formerly the MGA Academy of Performing Arts) unveiled its brand new Livingston campus last night at a red-carpet launch event celebrating the renaming of the school and new facilities for its students.
The launch party, held at The SI’s new state of the art facilities in Livingston, Scotland, marks a pivotal rebrand for the school with a name change, a new campus and new management from Ireland’s Silver Rock Studios.
The university is also now expanding its reach to international students for the first time as well as continuing to boost local Scottish talent, positioning Scotland as the go-to destination for success in the creative industries.
All guests, staff, and students were treated to an evening of performances, art installations, and a special performance of Dougie MacLean’s famous Caledonia from the school’s current students.
Alumni from The MGA Academy of Performing Arts, now known as The Scottish Institute, have gone on to success in film and television including playing leading roles in BBC’s Gossip Girl and major West End shows such as The Book of Mormon, Wicked and Six!.
Under its new management from Ireland’s Silver Rock Studios, and with new President and CEO Andy Egan, future students will be guaranteed credits as part of their degree, as part of The Scottish Institute of Theatre, Dance, Film and Television’s plans to foster the stars of tomorrow.
One of the UK’s leading theatre companies for learning disabled actors, Lung Ha celebrates four decades of brilliant theatre-making
Lung Ha is an Edinburgh-based theatre company for actors and theatre makers with a learning disability and autism which produces award-winning productions and works with a year-round, 25-strong Ensemble to develop their practice and remove barriers to participation into the arts.
April marks the start of 12 months of the Company’s 40th anniversary celebrations which will see it take part in or present a remounting of the Company’s 2021 hit An Unexpected Hiccup at the Edinburgh Festival Fringe, the world’s biggest stage.
Originally created and performed under strict COVID procedures during the global pandemic, the show is a tale of comic misunderstandings, sinister goings on and dangerous eccentricities.
This will also be the inaugural production of the Lung Ha Touring Company which will provide further opportunities for performers to create and tour new and existing work, with bespoke and specialist actor training.
An Unexpected Hiccup is a co-production with Plutôt La Vie featuring five Lung Ha actors, written by Michael Duke after a devising process with the Company. It will be presented between 2 and 10 August at Zoo Southside.
The Company is also commissioning initial research to develop an Access and Creative Principles Toolkit which will support the launch of Lung Ha Touring Company. The research aims to cover three main areas:
To understand the access support structures required for learning-disabled actors in a professional company.
To apply fair and equitable pay remuneration frameworks for ourselves and other theatre companies working with actors and artists in receipt of varied and complex benefit arrangements.
To create a practical toolkit for working with learning-disabled actors which has a wider culture sector benefit and application.
The first publication of findings is expected in spring 2025. The project is funded by RS Macdonald Charitable Trust.
Lung Ha Theatre Company has been invited as a guest contributor at the Europe In Action Conference, a partnership between Inclusion Europe and Enable in May 2024 in Glasgow during Learning Disability Awareness Week, hosted by Enable who are also marking an anniversary year (70th).
The Company will be hosting the closing session of the conference with the theme of deinstitutionalisation, including a presentation about the Company’s work and a focus on the award-winning production Castle Lennox from 2023.
Also in May, Lung Ha Theatre Company will host the World Premiere of its short film, Love Like Salt, at Traverse Theatre – a loose adaptation of Shakespeare’s King Lear, featuring the Lung Ha Ensemble and co-created by Maria Oller, Susan Worsfold and Stuart Platt. The evening will also feature a short snippet from an anniversary documentary about the Company made and edited by a Lung Ha actor, Emma McCaffrey.
Throughout the year Lung Ha will be spotlighting our Ensemble actors using commissionedportraits from photographer and long-time collaborator Peter Dibden. The photoshoot was a glamourous “Met gala meets night at the theatre” extravaganza.
The actors were given the opportunity to curate their own costumes and threw themselves into model poses and characterful performances which are beautifully captured in this series and in our commemorative 40th anniversary Ensemble group photograph.
Short history of Lung Ha
Lung Ha Theatre Company began its life as Lung Ha’s Theatre Company in October 1984. A sixty strong team of performers, with a learning disability, under the direction of Richard Vallis and Peter Clerke created and performed their own version of the fabled Monkey stories (for a time the Company was called Lung Ha’s Monkey Theatre).
The production was hugely successful and a new company and vitally important new theatrical voice launched onto the Scottish stage, now a vital part of it.
Since then, the Company has worked with over three hundred performers with a learning disability creating over forty original productions. The Company and has also worked with some of the leading artists and creative organisations across the country and toured internationally to England, France, Ireland, Poland, Sweden and Finland.
Some of the Company’s achievements include the Critics’ Awards for Theatre in Scotland (CATS) for Best Ensemble in Huxley’s Lab in 2009 (co-recipient with Grid Iron Theatre Company) and for Castle Lennox, a 2023 co-production with The Royal Lyceum Theatre Edinburgh.
Now the company offers a range of creative opportunities for learning disabled actors. Our Pathway for Progression features six strands of work where actors can access training and performing opportunities in an inclusive and welcoming environment and on an established platform.
These are The Lung Ha Ensemble, Lung Ha Touring Company, Lung Ha Across Scotland (an online nationwide actor training workshop series), Creative Development (one to one skills development, mentoring and critical response), Sharing our Expertise (via our Access and Creative Principles Toolkit, and workshop leader training), and Supporting External Opportunities (where the Lung Ha team prepares and supports people with their creative ambitions outwith Lung Ha).
Artistic Director Maria Oller and Executive Director Ruth McEwan said: “Entering our 40th year, we are so proud of our achievements and what has come before now.
“We have shared incredible moments with everyone we work with and our audiences far and wide.
“From here, we are passionate about continuing to create fabulous theatrical experiences and breaking down barriers in our sector and beyond. Our actors are the inspiration and the beating heart of Lung Ha Theatre Company.”
Lung Ha actor Fern Brodie said: “I see Lung Ha and the other actors as my other family.
“I feel safe and happy when I spend time with them.”
Lung Ha actor Gavin Yule said: “Lung Ha is a place where I can perform and practise acting skills and develop new ones.
“It’s also where I can make friends and have a social outlet. It also allows me to experience professional theatre and perform incredible pieces of work.”
Theatre critic Neil Cooper said: “Its first show, Lung Ha’s Monkey, gave the company both its name and an identity that seemed to suggest that monkeying around on stage was a good thing.
“In the forty years since, that sense of liberation through play has remained at the company’s core throughout work by a stream of writers and directors who followed in Vallis and Clerke’s footsteps.
“With current Lung Ha Artistic Director Maria Oller at the helm for the last fifteen years, the company’s radical philosophy has put it at the centre, not just of community-based arts initiatives, but of Scotland’s entire theatre ecology.
Watching the company grow into itself over these years has been a joy. Long may Lung Ha continue to thrive.”
