Special International Women’s Day performances at Assembly Roxy
7 – 9 March 2024 Assembly Roxy, Edinburgh (Roxy Upstairs)
In an exciting Scottish comeback, Edinburgh-based multilingual Fronteiras Theatre Lab (fronteira meaning ‘border’ in Portuguese) is set to bring their intimate physical theatre show La Niña Barro to Assembly Roxy this spring for an exciting three day run, 7 – 9 March 2024, coinciding withInternational Women’s Day.
An ongoing and cumulative creative project first formed in 2013, this run marks a decade since La Niña Barro’s original premier at the 2014 Edinburgh Festival Fringe. The performance will feature the original crew and cast, including Director and Producer Flavia D’Avila andlead actress Elizabeth Sogorb as the clay woman.
Created from introspective poems written by Spanish writer Marta Massé, La Niña Barro explores the experience and feelings of a woman made from mud; probing how she feels about and relates to herself, earth, nature, life, and love through a raw and intimate mix of skilled Mbira (traditional Zimbabwean thumb piano) music by artist and performerAlexandra Rodes, moving spoken word, and deeply felt physical theatre.
A performance enacted fully in the nude and spoken in the Spanish language, La Niña Barro creates a sensitive, impactful experience for audiences – asking us to embrace and reflect on what makes us human as the clay woman bears her soul and self.
Director and ProducerFlavia D’Avila said: ‘This is a deeply personal, heartfelt project for all of us. Not only are we celebrating 10 years since our Niña first came into the world, but there have been many changes and losses for us all along the way – and it’s all embedded there, in the work itself.
‘What I find really interesting about La Niña Barro is that it affects people in completely unique ways depending on where they are in their lives. We’re really looking forward to giving her the run she deserves in Edinburgh.’
Actor Elizabeth Sogorb said: ‘I sat down to re-read Marta’s original poems in preparation for this run the other day and I couldn’t stop crying.
“It was a rare grey, rainy day in Alicante and they just really hit me… So many memories stirred inside me; everything we have experienced with this show, all the conversations we’ve had. I can’t wait to get her under my skin again.’
Artist and musical performer Alexandra Rodessaid: ‘What I do is different from Eli, because she’s an actor. I’m an artist by training and trade – so I see my performance in La Niña Barro as more ‘action’ than acting, if that makes sense.
“I have memories from the past few years, but we have all changed as a team so much and I just don’t know what the performance will feel like this time. I won’t know until I have her [Eli] there – flesh and clay, to shape with my bare hands…’
Since 2014, La Niña Barro has toured around Spain, Brazil, Uruguay, and the USA, winning the Impact Award at the 5th Small-Scale Theatre Festival in Miami and making the cover of specialist dance and physical theatre magazine Godoff in Madrid.
Past Praise for La Niña Barro
“It is easy to speak of life and the wonders of human nature with trite, meaningless and fluffy words. It is harder but far more effective to show these things, as La Niña Barro does.” (A Younger Theatre)
“A magical experience to watch” (AllEdinburghTheatre)
Touring to Dundee, Aberdeen, Inverness and Edinburgh from 18 April to 8 June
Opening press performance 7.30pm, Thursday 18 April at Dundee Rep Theatre
Dundee Rep Theatre, in co-production with the Royal Lyceum Theatre Edinburgh, have revealed the full ensemble cast that will star in their thrilling new adaptation of Sunset Song, which will tour stages across Scotland this Spring.
Danielle Jam (Dracula: Mina’s Reckoning, Kidnapped, James IV: Queen of the Fight, Wings Around Dundee) will lead the exciting cast in the role of Chris Guthrie, Scotland’s most beloved and iconic literary heroine. As an alumnus of the Dundee Rep graduate actor scheme – a programme which supports acting graduates in the transition from drama school into the theatre industry – Sunset Song marks a meaningful return to the Rep stage for Danielle.
The award-winning ensemble cast will also include Rori Hawthorn, Murray Fraser, Andy Clark, Annie Louise Ross, Sam Pashby, Naomi Stirrat, and Kirsten Henderson.
This revitalised and reimagined production is brought to life by a leading Scottish creative team. Co-conceived by writer Morna Young (Lost at Sea, The Stamping Ground) and director Finn den Hertog (The Enemy, Square Go), Sunset Song will also feature new music by Composer Finn Anderson (Islander, A Mother’s Song).
One of Scottish literature’s most enduring classics, Lewis Grassic Gibbon’s powerful coming-of-age tale continues to capture hearts and imaginations across the world. Following the spirited Chris Guthrie as she faces a choice between a hard farming life and a world of learning, her journey to womanhood in the early 20th century sees her face crushing poverty, harrowing family trials, stirring love, and the ever-looming threat of the First World War. With a profound lyrical intensity, Sunset Song tells the story of human resilience in the face of great loss.
Sunset Song will open at Dundee Rep Theatre from 18 April to 02 May (previews 13 – 17 April) before touring to His Majesty’s Theatre, Aberdeen (08 – 11 May), Eden Court Inverness (16 – 18 May), and the Royal Lyceum Theatre Edinburgh(28 May – 08 June).
John Cooper Clarke celebrates 50 years in showbiz with the Get Him While He’s Alive Tour
Tour coming to Queens Hall in Edinburgh on 12th & 13th April 2024
John Cooper Clarke released brand new poetry collection -”What” published by Picador on 8th Feb 2024
Literary phenomenon John Cooper Clarke is back and better than ever, returning with a brand new tour and poetry collection this 2024. John will be performing at Queens Hall in Edinburgh on 12th & 13th April 2024.
John’s new show will take fans on a completely one-of-a-kind journey through poetry and comedy. John’s live touring career has gone from strength to strength, with John recently returning from an epic North America tour in September 2023.
This year he’s back on home turf, as he continues to sell out theatres and halls across the UK, with a stretch of shows in Ireland also recently added.
It’s a chance to see one of the world’s most important and entertaining spoken word artists at his bold and brilliant best.
‘WHAT’ is the new collection from Britain’s “Poet Laureate of Punk” and will be published on 8th February to coincide with John’s 2024 national theatre tour celebrating 50 years of showbiz.
Venues for the “Get Him While He’s Alive” tour include the Edinburgh Queens Hall, a reunion show with very special guest Linton Kwesi Johnson at the London Palladium and three nights at Salford’s Lowry Theatre.
John’s new collection “What”, which will be published by Picador, is full of John’s much-loved sardonic wit and hilarious ponderings on modern life and follows on from John’s bestselling The Luckiest Guy Alive.
The original people’s poet, John’s cultural influence spans literature, music, and fashion, and his unique poetry and delivery style transcends generations.
From creating some of the most iconic poetry of the modern era, including “I Wanna Be Yours” (recently celebrating over a billion streams in its incarnation as a hit record by the Arctic Monkeys) to sharing his life story through his 120k selling memoir of the same name, John is still as relevant as he was when he shot to prominence in the 1970s.”
Megahertz and FERAL are calling all bedroom Breakdancers, Flamenco fanatics and Samba superstars to take part in STRUT: Greater Craigmillar for two local live performances on Wednesday 20th and Thursday 21st March 2024.
In collaboration with acclaimed visual theatre and scenography company Megahertz and Lyra, who make world-class performances and creative projects for, by and with children and teenagers, STRUT comes to Edinburgh for the very first time, reclaiming the streets of Craigmillar and filling them with joyful movement.
We’re looking for five local dancers to perform their own 2 minute routine along the streets of Craigmillar as part of a night time performance parade over two evenings in late March.
Applicants can live or have grown up in Greater Craigmillar, work there or have family or friends in the area.
Thispaid opportunity is open to all, whether you’re a pro performer or your first time in front of an audience.Any and all dance styles are encouraged.
STRUT has previously taken place across Glasgow, Paisley and Aberdeen, with upcoming performances set for Cumbernauld, Dumbarton, Inverclyde and Dumfries and Galloway.
Past STRUTs have included a delightful mix of Bhangra, Salsa, Romani, Hip-Hop, Afrobeats, Northern Soul and Contemporary dance with many other dance styles yet to be explored.
STRUT performances are rooted in the community with familiar faces taking to the streets to celebrate dance in the local area.
Dramatic lighting, catchy beats and stunning projections enveloping everyday buildings form the perfect backdrop for the neighbourhood to watch the STRUT procession. Snug behind windows or gathered on the pavement, it’s the ultimate ‘Are ya dancing? Are ya askin’?’.
Bex Anson and Dav Bernard, founders of Megahertz said:“We are so excited to meet Greater Craigmillar’s freshest dance stars and celebrate them and their communities. We’ve been wanting to bring STRUT to the area for some time and can’t wait to see these streets alive with dance.”
Successful applicants will receive £750 for their involvement and must be able to commit to a 2 hour rehearsal (on either Sun 10th or Sat 16th March), a full day group rehearsal on Sun 17th March 2024 and 2 show days on Wed 20th and Thurs 21st March 2024.
STRUT: Greater Craigmillar is delivered in association with Lyra and Feral and is funded by Creative Scotland’s Touring Fund for Theatre & Dance.
FERAL and Megahertz also present RUINS, a highly visual dance show exploring togetherness across species, at Cumbernauld Theatre at Lanternhouse on 2 February, 7.30pm, and at The Studio, Festival Theatre Edinburgh as part of Manipulate Festival on 11 February, 6pm.
In that submission, we stated the following regarding our Grant in Aid budget from the Scottish Government for 2023/24:
“While we welcomed the Scottish Government’s decision in February 2023 to reverse the 10% cut to our Grant in Aid Budget which was originally announced in December 2022, it should be noted that the £6.6m this cut related to has not yet been confirmed in Creative Scotland’s budget.”
We are extremely disappointed to report that the £6.6m budget has not been included in the Autumn Budget Revisions.
This has been confirmed in writing by the Cabinet Secretary for Culture, Angus Robertson, in a letter to our Chief Executive, Iain Munro on 20 September.
This relates to Grant-in Aid funding that we receive from the Scottish Government and that we use to support 119 cultural organisations across Scotland through Regular Funding.
Given the extensive messaging and advocacy regarding the pressures on culture budgets and risks to the culture sector that we, and many others have been making, this is a concerning development.
To address this reduction, the Creative Scotland Board agreed on 27 September, to use £6.6m of our National Lottery reserves to prevent us having to pass it on to the Regularly Funded Organisations, especially given the next payments are due in 2 weeks’ time.
Whilst the unprecedented pressures on public finances are understood, we are disappointed that the Scottish Government has taken this decision. However, Creative Scotland is acting swiftly and pragmatically to help stabilise the situation in the short term.
This step of using our National Lottery reserves in this way will only happen once. The budget for 2024/25 will not be decided by the Scottish Government for some months yet but should the Scottish Government choose to sustain this reduction, we will require to pass it on to the sector.
Creative Scotland appeared before the Culture Committee at the Scottish Parliament on yesterday (Thursday 28 September) to give evidence as part of the Committee’s ongoing inquiry into culture budgets in Scotland.
David Watt, chief executive of Culture & Business Scotland, said: “At a time when Scottish Government ministers repeatedly speak about the importance and value of culture to our society and economy, the reinstatement of the £6.6M cut to Creative Scotland’s annual budget for the current year is unfathomable.
““Just yesterday (Thursday September 28), I, alongside other cultural representatives, gave budget evidence to the Constitution, Europe, External Affairs and Culture Committee to hopefully ensure that this shortsighted budget decision does not extend into the 2024-25 budget for culture settlement.
“Investment in culture is essential for society, local communities, tourism, the economy and Scotland’s international reputation. The ongoing challenges of the legacy impact of Covid, Brexit and the cost-of-living crisis, are very real, with many arts and culture organisations operating on a knifes edge.
“These issues are exacerbated as the majority have a lack of unrestricted reserves and continue to struggle to build these up due to slow growth in ticket sales and increased overheads due to high energy prices.
“A reduction in public funding will rapidly increase the firefighting our culture organisations and venues are facing against challenge after challenge. If this budget pattern continues, with little opportunity to ensure future sustainability, there will be an inevitable shrinkage of the culture sector, and the economic and social impact of this will be significant for us all.”
As part of the Autumn budget review, the Scottish Government has re-instated a 10% cut to Creative Scotland’s 2023-24 annual budget (totaling approximately £6.6m), which following mass campaigning from the cultural sector, was overturned earlier this year (writes SMIA Interim CEO and Creative Director ROBIN KILPATRICK).
As the organisation which exists to strengthen, empower and unite Scotland’s music industry – representing a diverse membership of over 4,000 people working across all music genres and industry subsectors – we’re compelled to highlight the devastating impact of this decision; not just to music and culture, but to Scottish society at large.
The cut directly relates to the funding allocated to support Creative Scotland’s Regular Funding Network, comprising 119 cross-artform organisations (RFOs) that are structurally integral to both supporting and delivering Scotland’s cultural output. The SMIA is one of them.
In the short-term (for the rest of this financial year), Creative Scotland has had to divert to utilising National Lottery reserves to plug the gap and prevent the cuts from being passed on to members of the RFO network.
If this hadn’t been the case, in two weeks’ time when the next RFO funding payments are due, each of the 119 organisations would, in effect, have received a ~40% cut to projected funding.
In the SMIA’s case, this would have been two weeks ahead of the Scottish Album of the Year (SAY) Award Ceremony, and would have put the delivery of Scotland’s national music prize at significant risk.
The cut would have again been replicated in January at the next (and final) RFO payment for this financial year, which in the case of many organisations, would have meant the end. Whilst immediate disaster has been avoided, the use of Creative Scotland reserves at this stage means that they are now significantly depleted for what was their intended purpose.
Last month, Creative Scotland highlighted that over 500 cultural organisations stated their intention to apply for Multi-year funding; a new funding scheme that will replace the current Regular Funding one. From the intentions to apply, the indicative annual request was in excess of £113m – far exceeding what Creative Scotland expects to have available.
Inevitably, this means that Creative Scotland will not be able to support as many organisations on a multi-year basis as they currently do, and the application process will be highly competitive. Causalities are expected and imminent. Cultural organisations across all art forms are worried about their future, and the reserves that Creative Scotland has had to use now means that there’s far less available transitional funding for unsuccessful applicants.
Whilst the future for Scottish culture was looking bleak, there was at least some hope that organisations that are unsuccessful in securing Multi-year Funding would have some time to remain operational, pivot their business model and potentially find an alternative way forward. With Creative Scotland’s reserves now depleted, many unsuccessful organisations will soon vanish from the fabric of our cultural landscape, and with them, many creative opportunities and a significant part of our cultural identity as we know it today.
RFOs have been on stand-still funding since 2018. In the face of high inflation, rising interest rates, cost of living challenges, issues around staff retention and recruitment, the impact of Brexit, the legacy of Covid and a whole myriad of broader problems currently facing our sector, for Creative Scotland’s budget cut to have been re-instated, the future of music and culture in Scotland is now at significant and immediate risk. The foundations upon which it supported are being eroded at an increasingly alarming rate, and unless intervention is made by the Scottish Government, it will have impacts for decades to come.
Outwith the significant economic contribution that music makes to Scotland’s economy (£581m through music tourism alone in 2022, as noted in UK Music’s ‘Here, There And Everywhere’ report – and this is only based on events with 1500+ capacity), it’s important to remember that the value generated by the sector far extends an economic one.
With the Scottish Government has stated that they’re committed to building a well-being economy – which serves and prioritises the collective well-being of current and future generations – it’s fundamental to highlight just how intrinsic music and culture are to achieving that vision.
Culture is our identity; it’s how we see ourselves, how we see our place in the world and how we relate to others. It’s the stories of life in Scotland, and it underpins mental well-being – both collectively and individually – in many different ways. The silences that echoed across 2020 as live music vanished from our lives serve as a firm reminder of this. Unless intervention is made now, we’ll be lucky if there are whispers in the years to come.
We urge the Scottish Government to recognise the desperate situation of a vitally important sector; economically, socially and culturally. It’s essential that Creative Scotland has the resources to both support and preserve it.
Robert Kilpatrick – Interim CEO and Creative Director, Scottish Music Industry Association (SMIA)
CAMPAIGN FOR THE ARTS
The Scottish Government is breaking its promise on arts funding.
In February, thousands joined our campaign against plans for a £6.6 million cut to Creative Scotland, the public body responsible for investing in Scottish arts and culture. Ministers responded by abandoning the cut and instead heralded a “£6.6 million uplift … supporting the arts and cultural sector at this challenging time”.
But seven months on, the £6.6 million pledged to Creative Scotland hasn’t been delivered. And now the Culture Secretary Angus Robertson has told them that it won’t be.
This extraordinary short-changing of Scottish culture midway through the year has forced Creative Scotland to raid its limited reserves as a one-off, emergency measure. Otherwise, regularly funded arts organisations in Scotland would have seen their funding cut by as much as 40% as soon as next month.
This is absolutely no way to treat Scotland’s arts and culture, let alone in a perfect storm of economic pressures and post-pandemic challenges. This ‘U-turn on a U-turn’ puts treasured venues and companies, thousands of jobs and access to Scottish culture at risk.
We urge the Culture Secretary Angus Robertson to:
Honour the Scottish Government’s commitment in February to provide “an uplift of £6.6 million for Creative Scotland for 2023-24″.
Scrap any proposal to cut Creative Scotland funding from the 2023-24 Autumn Budget Revision.
Commit to maintaining and increasing investment in arts and culture from 2024-5, for the benefit of everybody in Scotland.
The SNP’s 2021 manifesto said “culture is central to who we are as a nation”, and that “the pandemic has demonstrated more than ever how vital it is to our wellbeing, mental health and sense of belonging”.5
But Scotland’s cultural sector has not fully recovered from the pandemic, during which it was one of the hardest-hit sectors. For many, incomes have fallen and reserves have dried up. Now, in the middle of a cost-of-living crisis, costs are rising and uncertainty is rife. This is not the time to cut vital, core funding on which artists and organisations depend.
Economic pressures have already led to the permanent closure of the Filmhouse cinemas in Edinburgh and Aberdeen, the Blue Arrow Jazz Club in Glasgow and the Nevis Ensemble, which worked across the country. We cannot afford to lose any more arts organisations – or the benefits they bring to our lives, communities and society
Creative Scotland’s 120 Regularly Funded Organisations (RFOs) directly employ 5,000 workers, support 25,500 individual artists and provide millions of opportunities for people across Scotland to engage with the arts and culture.
Of these, Edinburgh-based arts organisations include:
(Organisation – Art form– Average annual grant)
Arika – Multi – £200,000
Arts and Business Scotland – Creative Industries – £200,000
Produced by Imaginate and National Theatre of Scotland
Theatre in Schools Scotland brings MESS by Tenterhooks to ASN schools in Scotland as part of its touring schools programme of live dance and theatre productions
MESS is visiting ASN schools in Edinburgh, Livingston, Dundee, Tain, Dingwall, Inverness and Aberdeen in September and October 2023 with a first performance at Oaklands School in North Edinburghon Monday (25 September 2023).
Theatre in Schools Scotland (TiSS), the National Theatre of Scotland and Imaginate’s successful schools touring project is, for the first time, touring a show exclusively to ASN schools in Scotland, as part of its new 23/24 schools programme.
TiSS is bringing the playful, bold show, MESS by Scottish company Tenterhooks, to schools for young people with complex additional support needs in September and October 2023. The show will be touring to ASN schools in Edinburgh, Livingston, Dundee, Tain, Dingwall, Inverness and Aberdeen. Following the tour to schools as part of TiSS, Tenterhooks will bring MESS to CHAS children’s hospices Rachel House in Kinross and Robin House in Balloch.
Created by Tenterhooks and produced by Scottish Theatre Producers, MESS is a bold, playful and emotionally engaging theatre performance made especially for young audiences (age 5-18) with complex additional support needs. In the performance, an ordinary day in the life of a team of caretakers turns unpredictable when, for the first time ever, they attempt to clean a space which has people in it. MESS features comedy, surprise, celebration and mild peril!
Tenterhooks is led by Diane Thornton, Suzie Ferguson, and Fergus Dunnet, two theatre clowns and one visual artist putting audiences at the heart of their bold and playful performances. MESS was co-devised by the cast and creative team from an original idea by Ben Winger.
The MESS company includes performers/devisers: Ben Winger, Diane Thornton, Suzie Ferguson, Kerry Cleland, Ronan McMahon, Carmen Pieraccini and Lucy McGreal.
A number of the MESS ensemble performers work together as Clowndoctors (Hearts & Minds) and their therapeutic clowning practice, which includes spontaneity, complicity and playfulness has informed the development of the performance.
Julian Almeida, Theatre in Schools Scotland Project Managersays: “We’re delighted to be touring our first ever show made especially for young people with complex additional learning needs, which will exclusively visit ASN schools.
“The opportunity for children to experience and participate in performances in their own school environment is invaluable, and TiSS is committed to creating and developing new relationships with schools and teachers throughout Scotland.”
Theatre in Schools Scotland, produced by Imaginate and National Theatre of Scotland brings inspiring live theatre and dance productions, made specially for children and young people, into schools and nurseries.
The new TiSS programme also sees the welcome return of Cloud Man by Constellation Points/Ailie Cohen & Lewis Hetherington which had its original schools tour curtailed due to Covid-19 in 2020; and an extended second tour of Going for Gold: Me and Linford Christie by Victoria Beesley/Catherine Wheels Theatre Company which was first off the TiSS blocks to great acclaim in 2022.
TiSS is excited to be offering younger primary school pupils a brand new dance theatre performance, The Last Forecast, from Catherine Wheels Theatre Company/Bridie Gane.
The TiSS programme is available for schools to book anywhere in Scotland, offering performances in primary schools for all ages. TiSS continues to offer subsidised bookings to schools and create partnerships with local support organisations, ensuring live performances reach schools not only in cities and towns but in remote and rural communities.
THE ICONIC PURPLE COW AND ITS MOO-VELLOUS PROGRAMME RETURN FOR THE 23rd YEAR
Underbelly has officially opened the doors to its incredible venues and line-up at the Edinburgh Festival Fringe 2023, set to entertain locals and visiting crowds alike.
Last night, Underbelly’s iconic McEwan Hall got the party started with the official programme launch. Lucky guests sampled a flavour of what’s on offer this year with a spectacular mix of comedy, dance and circus.
The event was hosted by comedian Sooz Kempner and comedy crime podcasters Kathy and Stella opened the show with a number from their hit musical Kathy and Stella Solve A Murder.
Also performing were stand-up comic Emmanuel Sonubi, Untapped Theatre Award winners Dugsi Dayz, family entertainer Mario The Maker Magician, comedy dance act TUTU, circus troupe Sophie’s Surprise 29th, visionary acrobatics from Circa’s Peepshow, US Drag Race winner Monét X Change and world-class circus performers The 7 Fingers.
An eclectic programme of over 150 shows across the four venues offers everything from dazzling circus performers, awe-inspiring cabaret, captivating theatre, vibrant dance, fun-filled family entertainment, and side-splitting comedy – there’s truly something for everyone at Underbelly.
Underbelly’s Co-Directors Charlie Wood and Ed Bartlam said: “What a wonderful night for our opening event! It’s brilliant to be back in Edinburgh for 2023 and we’re so excited to open the doors to another incredible Underbelly programme.”
For those looking for a good deal, 2-for-1 tickets are available now for a range of shows on the 7th and 8th of August. Families can also make the most of a Book 2 Tickets get 1 Free deal on weekday viewings of the family programme (Aug 16 -28th).
Highlights include:
For one night only in McEwan Hall Underbelly’s fifth Big Brain Tumour Benefit will host a massive line-up of Fringe stars in a raucous evening of comedy to help the fight against brain cancer. This year’s performers include Frank Skinner, Ivo Graham, Chloe Petts, Adam Kay, Hal Cruttenden, Lara Ricote and Emmanuel Sonubi, with more acts still to be announced! All box office income goes directly to The Brain Tumour Charity.
At McEwan Hall, join TUTU on a “hugely entertaining and hilarious” (BroadwayBaby) tribute to dance, where comedy and incredible dance skills intertwine seamlessly to delight crowds of all ages. Featuring an all-male cast of six dancers decked out in flamboyant costumes, this show is a humorous celebration of dance in all its glory… Yes, a bare-chested tutu-clad man can perform a stunningly graceful pointe solo!
Taking over McEwan Hall, Havana Street Party is an exhilarating explosion of urban movement direct from Cuba; Sara Pascoe’s Success Story flies in for one night only; Foil Arms and Hog: Hogwash, the Fringe favourites returns with a five-star comedy for an exclusive limited run; Drag Race double crown winner Monét X Change shares anecdotes and opinions on life in the tireless comedy Life Be Lifein’; and You Can’t Stop the Beat the Fringe’s ultimate musical theatre party night out.
In the iconic upside-down purple cow, the Udderbelly, Mario The Maker Magician brings robot magic direct from New York, with a wild and original family show; Choir! Choir! Choir! is a show where the crowd is the star and you’ll be harmonising to well-known classics in no time and a home-grown Drag Race winner joins the line-up in their debut solo tourDanny Beard & Their Band.
At Cowgate, Underbelly’s new, late night comedy experience is BATSU!Currently a hot ticket in New York and Chicago, audiences join comedy warriors testing their wits to avoid electric shocks, paintballs, giant chickens and other jaw-dropping punishments. Bill’s 44th – a poignant puppet tragicomedy for adults, called “Buoyant, mesmerizing, joy-inducing” as the New York Times Critics Pick; and identical twins Patrick and Hugo McPherson return with Pear: But Braver, after the smash-hit success of Pear in 2022.
The winners of the Untapped award, in partnership with New Diorama Theatre, Concord Theatricals and Nouveau Riche; It’s A Motherf**king Pleasure at Bristo Square, a witty satirical delight straight off the back of a smash-hit London run; Dugsi Dayz is a heart-warming tribute to The Breakfast Club, subverting Somali folktales and exploring friendships; and One Way Out, a powerful drama about four friends on the cusp of adulthood, exploring young British Caribbeans’ experiences of the Windrush crisis.
Over in Circus Hub, East London’s The Revel Puck Circus make their Fringe debut with an exhilarating new show The Wing Scuffle Spectacular; Aloft returns with Brave Space after selling out their innovative 2022 season and also presents Sanctuary, a punk-rock cabaret with a revolving line-up of internationally renowned circus artists backed by a live band.
For six dates only, McEwan Hall hosts An Afternoon with Anton Du Beke and Friends. The Strictly Come Dancing legendary judge takes to the stage with a live band, a guest singer and his dancers. Performing some of his favourite songs and dances that have inspired his career, expect behind the scenes stories from Anton’s time on Strictly.
Matt Forde will bring his hugely successful podcast The Political Party to McEwan Hall for one show only on Friday 18th August. Matt will be joined by one of the most charismatic, compelling, and outrageous politicians in Britain – Deputy Labour Leader Angela Rayner as she delves into her political career during this special live podcast.
CIRCUS, CABARET + VARIETY
Underbelly’s Circus Hub celebrates the daring and the different. The 7 Fingers present their world premiere of Duel Reality – circus on a whole new theatrical level – a must for fans of Romeo and Juliet and wondrous acrobatics.
Alongside Sanctuary and The Wing Scuffle Spectacular is Brave Space, a stunning, all-female piece of physical theatre that paints a picture of the world we want to live in and Reclaim which draws the audience close to examine life and imagine a sustainable future. Set in Circus Hub’s Spiegeltent, The Beauty, it features circus and acrobatics interwoven with two cellists and a live opera singer.
In addition to their debut solo tour showDanny Beard & Their Band, join RuPaul’s Drag Race UK winner Danny Beard and their best friend, DJ Billy Andrew for a very special live recording of their hilariously camp podcast Gossip Gays for one night only in Bristo Square. And, for four dates only (4th – 8th Aug), get involved with Drag & Draw, the art class with a difference, featuring lip syncs, audience interaction and drag queens.
Experience the extraordinary as Suhani Shah, the world’s highest-subscribed mentalist, brings her Edinburgh debut Spellbound to Bristo Square. India’s most famous mind reader has captivated global audiences with her charismatic persona, linguistic deception and comedic charm – an unforgettable evening is guaranteed!
MUSIC & MUSICALS
There is exciting music and musical programming, across all four venue hubs. You Can’t Stop The Beat is a party for musical theatre fans, turning McEwan Hall into a sing-along celebration of all your favourite shows; The Magnets, famously the UK’s number one acapella group; catch the sensational five-voice sound machine to relive the magic of the greatest musicians of all time; and one part sermon, one part purge and three parts house party, House Of Life is a travelling musical cult collective with one mission; to get you happy, at any cost.
With a host of 5-star reviews in their wake, the acclaimed Sheep Soup company promise to achieve their goal.
Debut show 2020 The Musical is a joyful new musical, celebrating human resilience in every form, depicting the true, uplifting stories of everyday heroes and turning the events of 2020 into a heart-warming party (and unlike Downing Street, everyone’s invited); God Catcher reimagines the story of a woman turned to a spider as punishment from the Ancient Greek Gods, exploring the legacies of truth and bravery through catchy tunes and heartfelt lyrics; tender musical Fabulett 1933, sees a liberal queer society in Berlin protest as the authorities close off every opportunity for freedom and expressionism; We’ll Have Nun Of It is a masterpiece, blending contemporary pop, soul and funk music into a unique new musical that navigates the angst and joy of Ireland in the sixties; and Tinkisa nostalgic love-letter to our past selves through the eyes of a very familiar fairy.
THEATRE
Joining Bill’s 44th and the Untapped award winners; The Way Way Deep, blends bold storytelling, spoken word and original music, by sell-out playwright Patrick McPherson, previous writing includes The Man and Colossal; in his Fringe debut, star of stage and screen Declan Bennett brings Boy Out The City, telling a raw survival story of a man in his search for identity, throwing us into a turbulent world of toxic masculinity, homophobia and men’s mental health.
The programme also pioneers wonderfully current topics with shows such as; PLEASE LEAVE (A Message), a devised piece set in a karaoke bar on Yucca Mountain, where a group of scientists are experimenting with time travel, in which ClusterFlux can give a fearful yet joyous address of the impending climate crisis; Temporarily Yours, a journey into sexuality and prostitution, a show made from true stories and earnest questions, pondering our body, soul and relationships; and The Brilliance of Broken Glass, a true story about rising from rock bottom, exploring the aftershock of a medical crisis and championing laughter as the ultimate medicine.
Solo show, Pleasure Little Treasure, takes us back to the downfall of the Soviet Union; a story about growing up in the first strip club in Estonia during the tumultuous 1990; My Dad Wears A Dress is a hilarious yet sincere one-woman show about growing up with a trans female parent; Life With Oscar is a tragicomic satire set in the underbelly of Hollywood (no pun intended); and Looking For Giants is a perplexing and seductive tale about self-discovery, from emerging theatre company That What’s Wild.
In Bristo Square, The Gaffer explores how the beautiful game can turn ugly quickly. Football manager Shaun Woods discovers his private life is set to make the back and front pages. For Shaun, the game doesn’t last 90 minutes, it’s a battle with no full-time whistle. Performed by Fringe First Award winner Chris Larner, this new short play written by acclaimed journalist Rob Crossan is not to be missed.
Ringer is Hughie Shepherd-Cross’s fifth Fringe production, a comedy that sees a heartthrob actor’s reputation left in the hands of his feckless double; winner of Dublin Fringe’s Bewley’s Little Gem award, Frigid is a tender coming-of-age comedy about sexuality in early 2000s Dublin, performed alongside a live DJ; extremely silly, and extremely ruthless The Death of Molly Miller is a pitch-black satire on our world of influencers, inequality and addiction; with performers from The Wardrobe Ensemble, International House of Vape:Redefining Theatre Experience goes where no brand has gone before in a new corporate venture; The Four Worst Things I’ve Ever Done is a wild ride of confessions and consequences; and pitch-black comedy BUTCHERED is a dynamic physical theatre piece with a killer soundtrack, this absurd thriller is set in the kitchen where dreams come to die.
COMEDY
Joining Sara Pascoe in the comedy programme; Pear: But Braver sees identical twins Patrick and Hugo McPherson return after the 2022 hit show Pear, a riotous hour of sketch comedy by two brothers heralded as “like Reeves and Mortimer” (The Recs). Joining them in Cowgate is Adam Riches as hereturns to the Cow Café with a site-specific show; Adam Riches is The Guys Who, a fresh take on the guys who you meet everywhere.
Sounds Like… is a unique improvisational panel show, from Doc Brown and quick-witted wordsmith hosts, based around rhyme and rap with special guests from the world of music and comedy. It’s seriously funny, stupidly clever and addictive.
The Retreat is a camp variety number that mimics a corporate event, questioning our toxic workplace methods, brought to you by stars of Parks and Recreation and Glow including UK songstress Kate Nash and featuring a rotation of incredible and iconic comedy names.
The programme features some special limited-run shows throughout August. Mr Thing, favourites at the Fringe, returning for two nights only to celebrate all the best bits from the past five years; Drag Queens vs Zombies, as Haus of Dench’s monstrous hit returns from the dead for two nights only, as drag superstars Kate Butch and Crudi Dench try to save the audience of their cabaret show from a gruesome death in a camp comedy horror; and Werewolf: Live appears for one night only in a charity spectacular.
An all-star line-up of comedians backstab, manipulate and fight for survival in this cult gameshow; with previous guests including Rose Matafeo, Nish Kumar, Ed Gamble, and plenty more, you know it’s going to be a wonderful kind of chaos.
Meanwhile in Bristo Square, Perrier Award winning Will Adamsdale:Show of Just Songswill regale audiences with the ballad(s) of a man adrift in the modern age (though enjoying heated car seats), for tales of CD hoarding, failed citizen’s arrests and a film career playing murdered schoolteachers, medieval lookouts, and Nigel Havers’ son.
For six nights only at McEwan Hall “Broadway’s greatest comic storyteller” (Deadline) Mike Birbiglia brings his show The Old Man & The Pool to the Edinburgh Fringe. Chronicling his coming-of-middle-age story Mike presents his tale of life, death, and a highly chlorinated YMCA pool that will resonates with audiences ages 12 to 112.
Kelly McCaughan’s show exposes the impossible standards of the confines of religion in Catholic Guilt; performed by US comedian Lane Kewderis and directed by Matt Gehrin; Sex Job is an empowering show about the good, bad and often hilarious ups and downs of being a sex worker, following the inside life of a financial dominatrix; Holly Spillar’sHole is a muff-busting comedy about sex, pain and the brain, showcasing one woman’s determination in the face of a tough diagnosis.
For one night only on 24th August, Bristo Square welcomes the Straight Comedian of the Year ‘Grand Final’ where crowds will bear witness to the epic conclusion of ex-gay comedian Simon David‘s search to find the UK’s funniest heterosexual.
The biggest breeders of the Fringe will battle it out for the title and a Fiat 500. Following a sell-out run in 2022, 4 x Fringe Awards winning clown comic Garry Starr returns for five dates only (23rd-27th) with Greece Lightning. Starr will perform all of Greek Mythology – never before has Medusa been looser, Achilles more sillies, or Uranus so heinous – an anarchic masterclass not to be mythed!
Healing King Herod is a wild, interactive, drag-clown therapy session featuring improvised songs, political parody and cult-like rituals where Herod, famed for massacring innocents, now leads a self-development pyramid scheme, and; Jeromaia Detto: MUSH, nominated for Best Comedy at Sydney Fringe, is a whimsical and absurd clown show, with five stars all round; Max Norman invites you to cross the seven seas with him on a night of nautical nonsense, with piratical puns, 90’s nostalgia and the ultimate audience prize in A Pirate’s Life For Me; and award-winning MANBO is a dead-sexy action-hero mission filled with chaos.
For the theatrical comedy fans out there, Rosalie Minnitt presents Clementine, a debut character comedy-drama involving a hilariously unhinged quest to find love set roughly ‘in the past’; in Dead Dad Show Simon David tackles the ‘dead dad’ cliché, in a show, directed by Fringe First winner Chris Larner, with dangerously high levels of heart; struggling to make sense of a breakup, Sophie hires a life coachin Sophie Santos… Is Codependant and 2022 Best Comedy winner from Hollywood Fringe, A Terrible Show For Terrible People is a raunchy, absurdist physical comedy with 2 spoken words “for perverts, feminists and your mom (not mutually exclusive).”
AAA Stand up and AAA Stand Up Late, return with brand-new line-ups of comedians, including Ross McGrane, Ridwan Hussain, Josh Elton and Sachin Kumarendran, having sold out Edinburgh from 2005-2022, it’s filled with clever wordplay, whimsical observations, and mischievous twists.
For those who are intrigued by games of social deduction, Blood on the Clocktower: Liveis a night of gothic chaos and carnage, featuring a revolving cast of comedians.
More stand-up includes Charlotte Fox encountering a series of crooked and macabre characters in her dark and manic comedy; Ouroboros The Return. Robo Bingo by Foxdog Studios, an interactive show for people who don’t want to talk to anyone; Alice Cockayne is unhinged and outrageously funny in the clowning drama I Showered Before I Came; Chris Turner shares stories of touring with Cirque Du Soleil and his newborn child in Vegas, Baby!; Sara Schaefer teaches how to unlock potential in this perfect mockery of a seminar, Going Up; Maggie Crane’s darkly funny Side by Side, an autobiographical story about family and disability. Internet sensation Josh Baulf with new show Bulldog; Paddy McDonnell in Paddy McDonnell Live, a show full of tales of everyday life; Dan Rath, discussing the ups and downs of neurodivergence in All Quiet Carriage Along The Inner Western Line;Ed Gaughan brings his first solo show in 18 years,Words and Music, with stories, clowning around and plenty of surprises; and award-winning comedian Leif Oleson-Cormack, who pushes confessional stand-up to its limits in The Disney Delusion.
QUARTER OF MUSIC AND THEATRE VENUES CONCERNED ABOUT CLOSURE
A quarter of music venues (27%) are concerned they may need to close down[1], as more than a third (35%) of business expenses go towards energy bills[2]
Many are running at half capacity (50%)[3], and have resorted to production cost cutting (17%)[4] and raising ticket prices by up to 25%[5]
Two in five (39%) have also found that customers are purchasing less expensive seats and buying fewer refreshments[6]
Three in five (60%) music venues say that energy bills are their top concern for the next year, above inflation rates and staff costs[7]
Uswitch for Business energy expert, Jack Arthur advises businesses to check the contract they are on and to review energy usage across all organisational levels.
Energy bills are taking the centre stage of concern for live performance venues, as energy bills make up more than a third of overall business costs, according to Uswitch for Business, the business energy comparison and switching service.
Performance venues are widely recognised as energy-intensive spaces, and the new research of UK music venues, concert halls and theatres shows over a quarter (27%) are concerned about potential closure due to rising costs.[1]
Air conditioning, heating, as well as extensive sound and lighting systems required to create immersive experiences for audiences are all adding towards total energy expenditure costs, with venues needing between 6 -1,000 kw to power low level concerts to major artist events[8].
Venues of all sizes report running at half capacity (50%) on average[3]. More than one in four (26%) sold fewer tickets this year, compared to last year. [9]
Consumers attending live performances are also more inclined to choose less expensive seats (39%) or buy fewer refreshments (39%)[6].
The show must go on: responding to the high energy costs
One in six (15%) venues report having to increase ticket prices[4], at an average of 25% per ticket to cover increased expenditure[5]. In addition, more than a quarter (27%) have also increased the prices of refreshments.[4]
Venues are also looking at new ways to reduce their energy output to directly tackle the problem. Training staff in energy efficiency measures (45%), switching to more energy efficient or LED lighting for both onstage and offstage (41%), and turning off, down or restricting air conditioning and heating (36%) are just some of the tactics. [4]
Nearly one in five (19%) are also choosing to only open their doors during peak times of the week, and 17% are using less energy intensive movable staging and production measures.[4]
But as energy prices continue to oscillate at high levels, three in five (60%) businesses are citing bills as their top concern for the next year, followed by inflation rates (41%) and staff costs (30%).[7]
Venues say they may have to make considerable changes if business costs were to increase further, especially as more than one in three (34%) state their business margins are now lower than before the cost of living crisis.[6]
Two in five (40%) fear they may have to make staff redundant to reduce costs, and one in three (35%) worry they may not be able to pay their energy bills on time.[1] Overall, 32% feel anxious about the future of the industry.[10]
Jack Arthur, energy expert at Uswitch for Business comments: “Live performances are central not only to the UK’s culture and entertainment sector, but also to the UK economy.
“While the sector has seen some recovery since the pandemic’s impact, the cost of energy has added new additional challenges.
“With higher utility costs taking the stage, venues need to be meticulous about how energy usage is being considered at all levels of their organisation – from the stage floor to sound production.
“Investing in more energy efficient appliances where possible may help to bring costs down, and prevent the final curtain for many.
“Music venues should also make sure they’re aware of their energy contract terms and end date, so they can shop around for the best rates at the time of renewal. Getting expert advice where needed and speaking to someone could help many businesses make significant savings.”
Elspeth McBain, Chief Executive of Lighthouse Poole Centre for Arts says: “Energy costs have been a major challenge to our venue, and indeed all venues in the last year, just as we were beginning to recover and get back on our feet following the devastating effect of the pandemic on culture and hospitality.
“In 2023 our electricity bill alone will increase by 200% and we are doing everything we can to meet this cost. However, this is on top of the significant increase in the cost of living which has increased our costs in all areas of the business and has also meant our audiences have less leisure spend available, restricting the number of times they can attend cultural events.
“Together, these factors have made it a testing time for organisations like ours and theatregoers alike. I am desperate for energy and living costs to come down so that we can keep bringing top class artists and productions to Poole, support local talent development, provide opportunities for cultural participation, and ensure that culture within our region continues to play a vital part in our community.”
Mark Davyd, CEO & Founder of the Music Venue Trust says: “We have seen an incredible explosion in energy prices right across the grassroots music venue sector in the last 12 months.
“The current situation is really on a knife edge, with venues essentially clinging on to the end of existing fixed term contracts and any new tariff effectively immediately creating a venue under threat of permanent closure.
“We desperately need some action from Ofcom and the Government to make the energy market work for music.”
The issue will be debated at the ‘Festival of Politics,’ which will be held in Edinburgh between Wednesday 9-11 August.
The panel, being held on the evening of the 11th, is entitled ‘Scotland’s Music Venues’ will examine why, despite Scotland’s worldwide reputation as a music nation, Grassroots Music Venues are under extraordinary financial pressures with many facing closure, and how politicians can step-up and help create security for these spaces.
Chaired by Michelle Thomson MSP, Convener, cross-party group on music, the panellists will include Scottish singer-songwriter Hamish Hawk, MVT COO Beverley Whitrick and major event professional Jim Frayling.
Unless otherwise stated, all figures taken from omnibus research carried out by onepoll on behalf of Uswitch for Business.
This was an online poll of 100 entertainment venue decision makers in the UK. The research was conducted between 6th and 9th June, 2023.
Respondents were asked ‘If costs of the business you work at were to increase to higher levels, which of the following do you believe could happen to the business?’, 40% said ‘it may have to make staff redundant’, 35% said ‘it might be unable to pay energy bills on time’, and 27% said ‘it may have to close down’.
Respondents were asked ‘Please estimate the proportion of your total business expenses that can be attributed to energy bills?’, the average response was 35.2%.
Respondents were asked ‘At what capacity (i.e., number of tickets sold) is the business you work at currently operating at for shows/performances?’, the average response was 50.4%.
Respondents were asked ‘What actions is your business taking to deal with high energy costs?’, 45% said ‘training all staff in energy efficiency measures’, 41% said ‘switching to more energy efficient / LED lighting (onstage or around the venue), 36% said ‘turning off, down or restricting air-conditioning or heating’, 27% said ‘increasing prices of refreshments at venue bars’, 19% said ‘opening the venue only during peak times of the week, 17% said ‘using less moving staging and production during shows, and 15% said ‘increasing prices of tickets’.
Respondents were asked ‘By what percentage have you had to raise overall prices?’, the average response was 25.1%.
Respondents were asked ‘What effects has the cost of living / rising energy prices had on your business?’, 39% said ‘customers are buying less refreshments’, 39% said ‘customers are choosing less expensive seats when buying tickets, 34% said ‘our business margins are smaller than previously’, 19% said ‘less of a demand for on the day tickets’.
Respondents were asked ‘What are your biggest concerns for your business in the next year?’, 60% said ‘energy bills’, 41% said ‘inflation rates’, 30% said ‘staff costs’, 27% said ‘customers reducing non-essential spending’.
Respondents were asked ‘Does your business currently have as many tickets sold compared to this time last year?’, 26% said ‘it has less tickets sold than this time last year’.
Respondents were asked ‘Which of the following statements do you agree with’, 36% said ‘my business was just starting to recover from the impact of the pandemic, and now energy costs are providing an even worse challenge’, 35% said ‘I am hopeful that the price of energy will drop in the next 3-6 months’, and 32% said ‘I feel anxious about the future of the industry’.
The Gift has been presented with the award for best Production for Children and Young People at the 20th annual Critics’ Awards for Theatre in Scotland. The awards ceremony which took place on Sunday 11th June at Traverse Theatre, saw Capital Theatres take home their first ever CATs award for the production.
Specially designed for children aged between 2 and 5 years old, The Gift isa story about how often, the wrapping paper, cardboard boxes and bubble wrap reveal playfulness, creativity and imagination – the true gift! The Festive show isbursting with energy, acrobatic dance, textures, sounds and colour to create a multi-sensory wonderland from the left-over boxes, ribbons and wrapping.
The Gift is a commission by Capital Theatres, Aberdeen Performing Arts and Eden Court, and a co-production between Barrowland Ballet and Capital Theatres for its 2022 presentation,
Natasha Gilmore, Artistic Director of Barrowland Ballet and creator of The Gift said:“It was such a privilege to sit in The studio at Capital theatre watching the Gift over Christmas with all these families enjoying going to the theatre together.
“A reminder of the joy of theatre and what a unique and memorable experience it is.”
Fiona Gibson, CEO of Capital Theatressaid: “It was an absolute privilege to witness the impact and joy The Gift brought to young audiences and their families in The Studio last Christmas and we are thrilled Barrowland Ballet and Natasha Gilmore’s wonderful work has won a CATs award this year.
“Collaborating with Eden Court and Aberdeen Performing Arts for this commission has been a real pleasure and sits at the heart of our vision to support and develop Scottish talent.
“This is of particular significance for Capital Theatres as The Gift marks the first time we’ve commissioned new work for young children in our studio as well as our first CATs award as a producer.”
Ben Torrie, Director of Programming and Creative Arts of Aberdeen Performing Arts said: “It has been a real joy working with our friends at Capital Theatres and Eden Court on the joint commission, which has resulted in the creation of three fantastic productions.
“The innovative model makes the most of our collective resources, provides stability for venues and artists, as well as ensuring that more young audiences across Scotland get to experience top quality theatre.
“Everyone at Aberdeen Performing Arts is thrilled for Barrowland Ballet in receiving this much-deserved accolade, and we can’t wait to welcome the awarding-winning production of The Gift to the Lemon Tree this Christmas.”
Susannah Armitage, Eden Court Senior Producer said:“The Gift is a beautiful piece of festive dance theatre for children that had our young audiences transfixed.
“It was a joy to collaborate with the ever brilliant Natasha and Barrowland Ballet as part of our co-commissioning and co-producing partnership with Aberdeen Performing Arts and Capital Theatres.”
Citadel’s Arts Group’s 12th foray into Leith Festival is an exploration of the atmospheric North Leith Burial Ground. Their playwrights workshop wondered what lies beneath Coburg Street and found a number of big characters interred in this small cemetery.
Seven members of Citadel’s group of older writers each chose to research the story behind one of the graves.
There are people whose achievements and eccentricities will be dramatized in a play, The Ghosts of North Leith. Using music, humour and poetry, the drama will raise awareness of this fascinating area of Leith history.
In the Coburg Street Burial Ground lies Lady Anne Mackintosh nicknamed the ‘Colonel’. Playwright Rhona McAdam explains she was drawn to her ‘as she seemed a strong, independent woman, taking part in the Jacobite Rebellion of 1745.
“Her husband, Sir Angus, chief of Clan Mackintosh, was a Captain in the government troops. Since he was unable, or unwilling, to raise the clan to fight for Bonnie Prince Charlie, Lady Anne did it instead.
“When the Jacobites won the Battle of Prestonpans, Sir Angus surrendered to his wife. After the Battle of Culloden, when the Jacobites were defeated, Lady Anne surrendered to her husband.’
Jim Brown took on the poet, Robert NicolI, heralded as the next Robert Burns. Jim said: ‘I became fascinated by Robert Nicoll because he was a poet, writer and radical newspaper man born in 1814, who packed so much into his short life. He died aged 23.’
No stone marks the burial place of 12-year-old Matilda Molesworth, but burial records indicate the spot. She features in the real-life story of the Trinity poltergeist. One of the collection of unexplained happenings in Catherine Crowe’s 1848 book “The Night Side of Nature“, it has popped up in anthologies of uncanny happenings ever since.
Another member of Citadel’s playwrights’ workshop, novelist Hilary Spiers explains: ” I’ve long been interested in the history of slavery in Scotland.
“While John Gladstones (buried in North Leith graveyard) and his grandson William Gladstone are better known, I felt John’s wife Nellie (who was known to be a very capable woman) might well have held views at odds with the men in her family. Women were a strong if largely unsung force in the abolitionist movement’.
Elaine Campbell came across the North Leith gravestone of three children and told us: ‘I was intrigued. Who were these three bairns so lovingly remembered?
“In the late eighteenth and early nineteenth centuries when the Millar children lived and died, infant mortality was ferociously high. Sadly all attempts to locate the children in church records proved fruitless.
“There were Millars living in Leith at the time. I have assumed Peter, John and Archibald were part of this extended, prosperous family of merchants. Although the “Three Cherubs” is my fictional account, I drew on historical material to describe their short lives and untimely deaths.
“By telling their story I hope to have given voice to the countless children who lie long forgotten in North Leith Graveyard’.
Was it chance or Divine intervention that led writers Carolyn and Brian Lincoln to the gravestone of the Rev. Dr. David Johnston? Previous attempts at finding the grave of this pillar of the North Leith community had proved fruitless.
The Lincolns were paying one last visit to the Coburg Street churchyard, when they noticed the letters D.D. poking through the moss. D.D. Doctor of Divinity. They scraped away some moss and there was the name. David Johnston (1735-1824) served the parish for nearly 60 years, a strong leader when Leith was seriously threatened by the ships of John Paul Jones, who supported the breakaway American colonies.
The play, which includes all these stories, and more, will be given a trial performed reading in North Leith Parish Church on 15 June. Citadel Arts Group seeks feedback from this first audience at Leith Festival with a view to staging a full performance of the play later in the year in the same venue.
North Leith Parish Church in Madeira Street welcomes Citadel Arts Group’s interest in the burial ground, and the church building which was to have been the keystone of Leith’s ‘New Town’.
Tim Bell told us: ‘I welcome the play as a chance for local and Edinburgh people to see this beautiful Georgian Church before it is released from the Church of Scotland estate in 2024’.
Venue: North Leith Parish Church, 51 Madeira Street EH6 4AU
Associated event: Hilary Spiers will lead a free guided tour of North Leith Burial Ground in Coburg Street on Monday June 12th at 2pm. Places are limited. Book from Liz Hare
Writers: Carolyn and Brian Lincoln, Jim Brown, John Lamb, Hilary Spiers, Elaine Campbell and Rhona McAdam.
Cast: Mark Kydd, Deborah Whyte, Chelsea Grace, Gregor Davidson, Dale McQueen.
Director: Liz Hare
Sound: Stewart Emm
Citadel Arts Group (SC 034687) is a Leith-based theatre company which specialises in creating new plays based on local stories, memories, and history.
