Tag: venues

theSpaceUK announces the full line-up for the 2024 Fringe

A spectacular line-up as theSpaceUK announces its full programme for the 2024 Fringe

  • theSpaceUK announces its full 2024 programme with over 400 exciting shows 
  • Largest new-writing programme at the Fringe, packed full of hidden gems
  • Club Life, the 2023 Fringe First-winning club/theatre immersive experience, returns for eight performances only!
  • Grammy award-winning cellist Leah Coloff stars in Super Second Rate, the compelling story of playing alongside music greats like David Bowie and Debbie Harry
  • Double Fringe First winners Xhloe & Natasha ride back into town with their brand-new show, A Letter to Lyndon B Johnson or God: Whoever Reads This First
  • …and join theSpaceUK for an EdFringe first in conjunction with ITVX as we present live at the fest, a global broadcast of the festival’s best comedians, live from the Grand Theatre at theSpace @ Surgeons Hall and hosted by your favourite comedians.

theSpaceUK is announcing the full 2024 programme with over 400 shows on sale at this year’s Edinburgh Festival Fringe. The 2024 line-up features the return of Fringe favourites and a packed programme of new writing and companies. 

Audiences can see the full programme and purchase tickets via theSpaceUK website (www.thespaceuk.com).

Theatre Highlights

Double Fringe First winners Xhloe and Natasha return with A Letter to Lyndon B Johnson or God: Whoever Reads This First and explore the blurred lines between childhood fantasy and harsh reality. Club Life, the 2023 Fringe First-winning club/theatre immersive experience, returns for eight performances only! Lemon Jelly’s Fred Deakin hosts an interactive joy ride through his 80s/90s clubland adventures. 

Jess by Glass Half Full Theatre offers an honest look into a woman’s life facing loss and heartbreak. Jess, a cardiothoracic surgeon, struggles with her career, relationships, and the desire for change. An Act of Grace from Ottawa Little Theatre invites audiences to a gripping tale of suspense in this contemporary thriller brought to you by the producers of the 2022 Carol Tambor Award-winning production of Burn.

Via Dolorosa by Chasing Rainbows presents David Hare’s exploration of the Israeli-Palestinian conflict. Through encounters with various public and private figures, this performance lays bare the complexities and tensions of the region. There are further poignant tales brought about by conflict in Hagar: War Mother, which tells the story of a mother and son fleeing the brutality of Syria’s war.

Bluffing Your Way in Ballet from Seizing The Day Company takes a fast-paced, irreverent journey through the history of ballet. From Isadora Duncan to Václav Nijinsky and Margot Fonteyn, this avant-garde performance blends stories and dances of ballet’s greatest stars. Hannah Whittingham stars in Death Becomes Us, confronting the final taboo head-on with tales of Walt Disney’s rumoured cryogenics and Meryl Streep’s accidental escapades. In this one-person biographical drama, Trawled – When Adventure Becomes Survival by Eoin Ryan recounts the true story of an Irish backpacker on a prawn trawler in the Coral Sea.

Malion by Tired Horses Theatre presents a feminist retelling of the Pygmalion and Galatea myth and explores themes of masculine identity and artistic vision in this brand-new production. Something To Believe In by The Brooklyn Bottling Company tackles the clash between faith and queerness at an all-girls Catholic school in a dark comedy that questions who truly deserves a place in heaven. 

There are plenty of Fringe favourites returning for 2024. In A Highly Suspect Murder Mystery – The Great British Bloodbath by Highly Suspect, the nation’s favourite baking competition turns deadly in an interactive murder mystery that invites the audience to solve a fiendish plot filled with evidence and cryptic clues. Charles Dickens: The Hanged Man’s Bride from Blue Orange Arts brings to life a ghostly tale of passion, deceit, and the fine line between reality and the supernatural. Elizabeth I: In Her Own Words by Flying Solo! Invites you into the tumultuous world of late 16th-century England through Elizabeth I’s letters and Shakespeare’s speeches. After a sell-out fringe in 2023, Nicole Nadler returns with Why Am I (Still) Like This? , a humorous and relatable exploration of living with ADHD at 30. 


Cabaret Highlights

Magician and mind illusionist Sean Alexander takes you on a reflective journey through the moments that shape us in 1 Moment in Time, packed with jaw-dropping magic. Murder: The Mind-Reading Lawyer by Tomas McCabe combines mentalism with courtroom drama in a family-friendly performance filled with incredible mentalism and the drama of court. Naughty or Neurodiverse – Magic from Another Planet features rising star Angus Baskerville. Diagnosed with Autism and ADHD at 15, Angus struggled through school until magic turned his life around. His first solo show at the Fringe delves into this journey, showcasing mind-reading and unbelievable trickery. 

Elle Barto: Itchy and Scratchy presents Elle Barton in their premier solo show. New York’s hottest drag sensation takes you on a journey through your favourite film and television moments, lip-synced by memory. Frankie Mack – The Vegas Showman electrifies the Fringe with a blend of Dean Martin’s suave, Elvis’ allure, Bublé’s depth, and Robbie Williams’ energy. Solve Along A Murder She Wrote by Tim Benzie returns with an interactive screening of the classic episode “Paint Me a Murder.” Following last year’s success, this critically acclaimed show involves a race to solve the crime with the Fameometer and Suspiciometer.


Musical Highlights

In Ctrl+Alt+Deceit! by Cambridge University Musical Theatre Society, audiences are introduced to Aunt June, a dowdy, kind, and lonely woman who ends up with a laptop that leads her to the Dark Web and a low-level drug ring. In Mary Mary Quite Contrary, CRE8IV THEATRE CO presents a spoof adult musical about Mary Whitehouse, a religious, moral campaigner from Edwardian England and her clash with the BBC. Lindsay Lucas-Bartlett takes audiences on a personal journey in Trust Me, I’m from Essex. This show chronicles life growing up in notorious Essex.

Cambridge Footlight Lily Blundell’s The Man Who Wouldn’t Be Murdered is a sinful dark comedy musical set in prohibition-era New York. Nominated for the Standing Ovation Award, this show blends greed, fraud, 1920s jazz, and drink into a gorgeously crafted musical. Delving into darker themes, The Avison Brothers bring Godfather Death: A Grimms’ Musical to the stage. This award-winning musical, based on a lesser-known Grimms’ fairytale, explores mortality, healthcare, and class. Wolverhampton Grand Theatre offers a lighter touch with I Love You, You’re Perfect, Now Change, a hilarious and heartfelt musical that tackles the intricacies of modern love. From first dates to marriage, children, and the twilight years, this show traces the arc of relationships through life’s stages.

Chevron Theatre presents Fringe – The Musical, a hilarious musical comedy set in a beloved family-run hairdressing salon in Essex. Finally, BramwellBrand Productions brings Wallis to the stage, telling the story of Wallis Simpson and her romance with Prince Edward, who gave up his crown for her. This musical explores whether their story is a love tale or a narrative of a woman trapped by her ambition and media scrutiny.

Comedy Highlights

Steve Goodie brings a unique tribute to the stage with AL! The Weird Tribute (and How Daniel Radcliffe Got Mixed Up in This Nonsense) complete with songs, accordions, guitars, and visual effects that cost many dozens of dollars. In Ajahnis Charley: Thots and Prayers, Ajahnis Charley explores the hilariously absurd journey of a nerdy gaymer who, after a failed death drop at a rave, finds himself at the gates of Gay Heaven as audiences witness the HOMO and avoid the FOMO. Described as a hidden gem, Aude Lener returns to the Fringe with a typically French show that redefines love stories in Aude Lener – Love Reboot.

The renowned host of Rule of 7×7 and co-star of Friends from College and Ray Donovan Brett Epstein: Alone on Stage is a darkly comic solo show that delves into the highs and lows of being an artist and the essence of being alone. In Chris Tavener is Faking Cool, Chris Tavener battles intrusive thoughts through witty, satirical songs. Known for his performances and appearances on BBC 6 Music and Sky’s Showcase TV, Tavener brings his unique brand of humour to the stage. Help! My Vagina Is Trying to Kill Me! by Yola Jean Lu is a darkly comedic solo show that explores one woman’s journey through STDs, miscarriages, and pre-cervical cancer.

Tom Hearn Live: How Fabulous is That?! marks the Edinburgh debut of viral comedian Tom Hearn. This Canadian Comedy Award winner brings jaw-dropping musical performances and original characters to the Fringe stage. Disco Horses: A Sketch Revue by American duo Disco Horses presents an hour of absurd, high-concept comedy. Tales from a British Country Pub by Chris Sainton-Clark takes audiences through the hilarious and troublesome experiences of working in British pubs.

And finally, join theSpaceUK for different comedy line-ups every night, with known faces and new acts – all broadcast LIVE on ITVX. Be part of the action and watch the chaos of comedy live from the Fringe!

Children’s Highlights

Goose by TaleGate Theatre tells the charming story of Sophie, who meets Goose while on a trip to the park, and the pair quickly become best friends in a brand new musical for the under-fives that’s the perfect theatre trip, featuring muddy puddles, wild goose chases, and plenty of honking. 

The Comedy Games with Coach Mon by Monique Warren brings a sports extravaganza to the stage. In this Olympic-inspired kid’s clown show, the audience helps find the missing athletes and participates in sports-tastic events like eyebrow push-ups and a slow-motion running race.

Follow a teacher’s magical seaside summer holiday in Miss English’s Holiday by Action Theatre. With puppetry, masks, magic, sing-along songs, and comedy, this show is a smash hit from Italy and is perfect for those under nine. 

Cantonese Opera x Children’s Interactive Theatre presents the Dic Dic Chang Chang Playground and invites young audiences to join Captain Dic Dic and Chang Chang at the Cantonese Opera Playground in Edinburgh. 


Dance & Music Highlights

Grammy award-winning cellist Leah Coloff stars in Super Second Rate, the compelling story of playing alongside music greats like David Bowie and Debbie Harry. Janis: The Story, the Music, the Legend, presented by Rockology Productions Australia, is a rockumentary showcasing Janice Smithers fronting a world-class band as they perform the hits of superstar Janis Joplin. 

Audiences will be transported back in time with iconic tales that have shaped the phenomenal jazz landscape from the 1900s in Divas of Jazz, From Fitzgerald to Jones. Brief Case of Crazy by Skedaddle Theatre Company tells the story of Thomas, a remarkable and unconventional introvert who navigates his way through a 9 to 5 job while admiring his equally shy colleague, Daisy.

There’s the most extensive a cappella line-up at the Fringe, featuring eight of the finest a cappella groups from the UK: Algorhythm, AcadePitch Productions, Steelworks A Cappella, Cadenza, Durham Dynamics, The Rolling Tones, Trinity A Cappella and Perfect Forth.

Charles Pamment, Artistic Director of theSpaceUK, said: “WELCOME to theSpaceUK! The home of award-winning performance and new writing at the Edinburgh Festival Fringe.

“As we celebrate 30 years of bringing work to the Edinburgh Festival Fringe it’s with great pleasure that we present our 2024 programme.

“theSpaceUK experience is how this fabulous festival is meant to be seen, every genre of live performance in one spectacular programme. We’re very proud to be known in Edinburgh for presenting new and original work, for harnessing grassroots performance, for identifying that untapped ‘gem’, as well as hosting work from established artists.

“Whether it be at our very stylish Royal Mile venues, the magical Venue 45 where we started our fringe journey all those years ago or our state-of-the-art hub at theSpace @ Surgeons’ Hall, Symposium Hall and theSpaceTriplex, complete with new theatres and garden bars, we look forward to hosting another vast array of exceptional and award-winning work from across the globe.

“Of course, we can’t make any of this happen without the commitment of all who bring shows. It’s to those creatives that we applaud loudly as another August in Edinburgh beckons.”

Waterfront: We want YOUR thoughts!

WE WANT YOUR THOUGHTS!

SATURDAY 4th MAY 11am – 2pm

The future is exciting for Granton Waterfront, we want to share plans and capture ideas for your heritage buildings.

Please share your ideas at our:

Drop-in event THIS SATURDAY 4th May

Granton Station, Waterfront Broadway

11am – 2pm

Or ONLINE from the 1-29 May

https://consultationhub.edinburgh.gov.uk/…/granton…

New RNIB research shows how blind and partially sighted people can’t attend sporting events

Venues not set up for people with sight loss

RNIB guide shows how football clubs can make simple easy adaptions so match days are enjoyable and welcoming for fans with sight loss

To tie in with International Day of Persons with Disabilities on 3 December, the Royal National Institute of Blind people (RNIB) has published new research which highlights how blind and partially sighted fans want to attend football matches and identifies some of the challenges that they face when attending live matches.

  • Nearly a quarter (23 per cent) of all blind and partially sighted people said they couldn’t experience or access a sporting event properly because a venue doesn’t accommodate for people with sight loss
  • 41 per cent of blind and partially sighted fans say lack of accessible communication like audio-described commentary during a match, accessible event day programme in large print and braille puts them off attending a live sporting event

However, the research showed some positives with nearly two fifths (38 per cent) of blind and partially sighted people saying that their football stadiums had made a lot of adaptions to make the live viewing experience more accessible.

Tied in with this research, RNIB has created a new guide, See Sport Differently Guidance, showing how sports venues can make the match day experience accessible for fans with sight loss, having worked closely with Arsenal, Everton, Plymouth Argyle, Wolverhampton Wanderers and Wrexham to develop best practice, as well as holding focus groups with blind and partially sighted people to better understand the issues they face when attending live football matches.

RNIB has showed the clubs how best to welcome blind and partially sighted fans into their stadiums to ensure they are able enjoy football matches without feeling excluded. RNIB is now proactively sharing the guide with all English Football League (EFL) and Premier League clubs to make their stadiums more accessible to mark International Day of Persons with Disabilities 2023 on 3 December.

Matt Stringer, RNIB’s Chief Executive commented on the launch of the RNIB’s See Sport Differently Guidance: ‘Working with clubs across the football pyramid to create a guide that will enhance the match day experience for people with sight loss has been a fantastic experience for us.

“I’m also thankful to the EFL for sharing the guidance with all its 72 member clubs. It contains some handy checklists and quick wins that clubs can implement to help make stadiums easier for blind and partially sighted fans to navigate.

“Live sporting events need to be easier for blind and partially sighted fans to enjoy. Our new research shows that getting to and from a stadium can be a difficult task for people with sight loss, coupled with when at the stadium, the facilities on offer are not accessible. I enjoy the match-day experience at Watford and blind and partially sighted fans should be able to do so as I do.

“It would make a big difference if match day stewards and all fan-facing staff are trained to be sight loss aware. Making stadiums physical environment easy to navigate through clear signage, marked steps and marked handrails make a big difference in making blind and partially sighted people feel welcome.

“Also, technology such as audio description and quality match day commentary really helps brings the game to life and should be available at every fixture so that blind and partially sighted fans can fully enjoy the beautiful game.”

Charlotte Jones, partially sighted Wolverhampton Wanderers FC season ticket holder and from Wolverhampton, said: ““We need everyone to join in to help create a more inclusive match day for fans with sight loss.

“On match days, my Dad assists me with the challenges I face when attending matches, such as accessing the stadium and navigating through crowds and steps to get to our seats.

“We’ve received great support from the club who have helped us to select seats so that I can have the best spectator experience possible like sighted fans do. They’ve helped to locate seats where the sun wouldn’t be in my eyes during a game, which is very important as glare can affect my vision, and seats near to the halfway line so I can follow the game more easily.”

RNIB See Sport Differently Guidance

  • RNIB’sSee Sport Differently Guidance on making the match day experience accessible for spectators with sight loss is available to download here and can be shared with your football club to show how they can make their stadium more accessible for fans with sight loss.

The launch of the guidance is part of the See Sport Differently campaign, a campaign partnership between RNIB and British Blind Sport.

The Final Curtain?

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.

Entry to this event is £6 or £4 concessions – available here: https://www.festivalofpolitics.scot/…/scotlands-music…

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.

  1. 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’.
  2. 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%.
  3. 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%.
  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’.
  5. Respondents were asked ‘By what percentage have you had to raise overall prices?’, the average response was 25.1%.
  6. 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’.
  7. 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’.
  8. https://tseentertainment.com/electrical-needs-a-big-part-of-concert-production/
  9. 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’.
  10. 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’.
  11. https://www.choura.co/small-vs-large-concert-venues-which-is-better/#:~:text=Mid%2Dsized%20music%20venues%20typically,capacity%20of%20less%20than%201%2C000. (small – less than 1,000 seats /  large – up to 20,000 seats)

Edinburgh University Students’ Association to open four Fringe spaces 

This summer, the Edinburgh Festival Fringe returns bigger than ever, in this its 75th year, and Edinburgh University Students’ Association is set to re-open iconic venues across the city, in conjunction with its Festival partners, as well as a brand-new spot for 2022: Potterrow Plaza.

New for 2022, Edinburgh University Students’ Association in collaboration with Pleasance London will create a space in front of the Pleasance Dome with food, drink and immersive show experiences. As well as this brand-new spot, classic Fringe venues the Pleasance Courtyard, and Gilded Balloon at are set to return with a number of local favourite food and drink suppliers.

At the Potterrow Plaza, guests will get the chance to experience a séance or a take flight, in two new interactive simulation performances installed by the Pleasance Theatre Trust. Mint Falafel will be in residence with a delicious selection of flatbread wraps suitable for everyone from meat-eaters to vegans. The area will have plenty of seating and a bar and will be a great spot to take in the atmosphere right at the heart of the fringe.

The Pleasance Courtyard will be back at its best for 2022, with city favourites such as the Beach House, Pizza Geeks and Babu Kitchen (rebranded as Total Meltdown with delicious cheese toasties) to name a few.

Barnacles & Bones will be coming with a delicious pasta menu, CEC Catering, the team behind The Garden Bistro in Saughton, will be taking over the indoor cafe and Luxford Burgers, which is run by an Edinburgh University student, will also be at the venue, making sure visitors will never go hungry pre or post show!

The delicious food offering at The Pleasance will sit under the iconic canopy of umbrellas and stretch tents in the series of cobbled courtyards, which makes it the perfect spot to enjoy the festival atmosphere come rain or shine. 

Pizza Geeks, much-loved amongst Edinburgh locals, will have an outlet inside the Pleasance Dome. Their pizzas – inspired by beloved sci-fi and video game characters – can be enjoyed day and night in the Dome; ideal in the event there is August rain! The Pleasance Dome houses several fringe venues and has a dfun, unique atmosphere day and night. The spacious area also gives visitors a good chance of finding a seat to enjoy drinks for a quick break between shows.

The Gilded Balloon at Teviot venueis the perfect spot, day and night. From coffee to start the day, to a pre-show drink, to a DJ backed late-night in the Garden, the venue is in the heart of the fringe, from morning until the wee small hours throughout the month of August.

Linton&Co speciality coffee will be on site for festival caffeination, and food will be available from the team behind the ever-popular Down the Hatch. Drinks will be served from three bars in the Garden. The entire garden is sheltered, and guests can even cosy up in one of the colourful beach huts (which seat 6) if the weather takes a turn.

Inside Teviot, there will be several Grab & Go bars for show-goers to the many Gilded Balloon venues inside. The iconic Library Bar will be serving a wide selection of drinks and a diverse menu day and night.

Along Charles Street, outside the Gilded Balloon at Teviot venue, there will also be a row of food trucks that will take seat for the month, with Bross Bagels and Mac Love serving the best bagels and macaroni cheese in Edinburgh. Screaming Peacock will please meat lovers and veggies with a mouth-watering selection of burgers, and Crema Caravan will satisfy any sweet tooth with delightful artisan desserts.

Drinks will be flowing across all three venues, with Molson Coors products featuring across all locations. Coors, Prahva, Carling, Staropramen, Guinness, Rekorderlig ciders, Johnnie Walker, Gordon’s Gin, Fever Tree softs and much more will all be on offer, so there really is something for everyone.

Cocktails on draught will also be available in all sites so guests don’t have to wait long to be served, and can even grab a cocktail in a can whilst queuing for performances!

Niamh Roberts, Students’ Association President, said: “After lockdowns, the Fringe is back, and it is set to be one of the biggest ever. We want to make sure our guests have the best time,  enjoying an amazing food and drinks offering across our sites.

“We hope everyone gets to experience as much as possible of what makes the Fringe so special.”

All three main venues are open ‘til late so visitors can enjoy the very best food and drink Edinburgh has to offer – whether they’re catching a show or catching up with friends.

To get the latest news from each venues, follow:

https://www.instagram.com/thegardenatteviot/
https://www.instagram.com/courtyardanddome/

Fringe venues join together to launch ticketing and reviews platform

EIGHT Edinburgh Festival Fringe producing venues – Assembly, Dance Base, Gilded Balloon, Just the Tonic, Pleasance, Summerhall, Underbelly and ZOO – are coming together for the first time to launch an updated show ticketing and reviews platform, edfest.com – providing audiences with a central hub for easy booking, information and reviews of ‘the best curated shows on the Edinburgh Festival Fringe’.  

With tickets now on sale, edfest.com provides a centralised booking and reviews hub providing access to 1,159 shows across comedy, dance, theatre, and music at 140 venues, featuring performers from 32 different countries.  

Some notable performers and shows in the 2022 edfest.com line up are:

Assembly: Choir of Man, Beats on Point, Friendsical, Love Loss & Chianti and Queenz 

DanceBase: Ballet Ireland, Scottish Dance Theatre, Dan Daw Creative Projects 

Gilded Balloon:  Late’n Live, Maisie Adam, Leith Social, Henry Naylor, Jack Docherty 

Just The Tonic: Jimeoin, Tom Stade, Aliya Kanani, Jack Gleadow, Anthony Deveto 

Pleasance:  Freedom Ballet of Ukraine, Sophie Duker, Ben Hart, Tim Vine, SK Shlomo  

Summerhall:  Learning to Fly, Life is Soft, Mama Love, Talisk, Efterkland  

Underbelly: La Clique, Rhys Nicholson, Dragons & Mythical Beasts, Circa: Humans 2.0, Unfortunate: The Untold Story of Ursula the Sea Witch  

ZOO: Night Dances, Runners, Rocky, Sad Book, Far Gone, Every word was once an animal 

The new edfest.com website has been designed to give audiences a more bespoke experience, allowing them to search and find shows they will love.

Companies and venues will update information on a regular basis and the public will be encouraged to review shows and share with their friends. The new experience gives ticket buyers a more rounded view of what’s on offer, replacing what word of mouth and poster clippings have done in the past. 

Speaking on behalf of the eight edfest.com venues, Jim Hollington, CEO of Dance Base, comments: “The last two years have been incredibly hard for everyone in the arts and entertainment sector. It’s therefore critical that this year’s Edinburgh Fringe is a success, to protect the future of our own organisations, of the performing artists who make the Fringe, and of our contribution to the city of Edinburgh overall.  

“As producing venues, we invest a huge amount of time, energy and money curating and producing some of the best entertainment in the world and bringing that to Edinburgh. Whilst the pandemic created numerous challenges, it did allow us to stop and think about how we could collaborate and do things better.

“Across the eight edfest.com venues we share a similar vision and so it made sense for us to pool our sales and marketing resources to drive efficiencies across our own operations and ultimately make things easier for customers. Our box offices will also all be linked and audiences will be able to buy for multiple venues. 

“Crucially this year we are going on sale earlier than usual to increase the sales window for bookings and generate much needed revenue.  

“Putting the last two years behind us we would like to encourage everyone from Fringe loyalists who turn up every year, to Edinburgh locals and first timers to visit edfest.com, book some spectacular shows and once again enjoy the best possible Edinburgh Fringe experience this August. We can’t wait to get going!” 

Funding to support Edinburgh Festival Fringe producers

£1.275m Fringe 2022 Resilience Fund developed, thanks to support from the Scottish Government’s Platforms for Creative Excellence (PLACE programme)

The Edinburgh Festival Fringe Society is pleased to announce that 13 Edinburgh Festival Fringe producers have been awarded a share of £1.275 million through the Fringe 2022 Resilience Fund, developed thanks to support from the Scottish Government’s Platforms for Creative Excellence (PLACE) programme.

The fund, designed to support resilience, recovery and creativity across the festival in its 75th anniversary year, is part of a £1.58m award to the Fringe through PLACE. The remaining £305k has been allocated to support the ongoing resilience of the Fringe Society and includes £55k to support the delivery of Street Events during August.

Venues in receipt of the Resilience Fund are Assembly, BlundaBus, Gilded Balloon, Greenside, Just The Tonic, Laughing Horse, Monkey Barrell Comedy, Pleasance, Scottish Comedy Festival, Summerhall, theSpaceUK, Underbelly and ZOO.

The awarding panel was chaired by the Fringe Society, and included the expert advice of Creative Scotland, City of Edinburgh Council and EventScotland.

Commenting on the fund, Shona McCarthy, Chief Executive, Edinburgh Festival Fringe Society, said: “It’s fair to say that the last few years have been the most challenging in our festival’s history. Now, as we prepare to enter our 75th anniversary year, creatives across the Fringe landscape are working hard to ensure that this incredible festival not only survives, but continues to work hard to be the best version of itself.

“This support from Scottish Government is absolutely vital in helping us to achieve that goal: allowing producers and creatives across the landscape to not only recover from the devastating effects of the pandemic, but to offer enhanced support to artists, workers and volunteers; to continue to programme creative and innovative work; to improve accessibility; to tackle affordability and to ensure that this festival remains true to its founding principles of openness and inclusivity.”

Scottish Government Culture Minister Neil Gray said: “As we celebrate the 75th anniversary of the Edinburgh Fringe this summer, I’m pleased that £305,000 from our Platforms for Creative Excellence (PLACE) Fund will support the activities of the Festival Fringe Society and their street events this year.

 “In particular I want to congratulate the 13 producers who will share the Fringe 2022 Resilience Fund. The last few years have been difficult for the venues putting on events so this support will help to ensure the continued success of this flagship summer festival.”

How the funding will support creativity and resilience across the Fringe: 

To address recovery and resilience challenges for the Fringe, funding was considered across four key pillars: Creative Programming; Risk Management; Fair Work and Sustainability.

With this funding, Summerhall are planning a range of creative work at the festival, including supporting two under-represented artists to make new work in response to 75 years of the Edinburgh Festivals.

To address sustainability, they aim to lead the way as a flyer free venue and will implement e-ticketing. Within their workforce, they are looking to create a brand-new Fringe Learning Management System, which will help onboard workers through online learning.

BlundaBus’ funding will support their return to the Fringe after the pandemic. They actively work to programme and support alternative and experimental artists, as well as artists for whom cost is a barrier to participation, offering both performance and ‘green room’ spaces to support artists.

Since 2019 they have been working to develop a programme of work centred around women and LGBTQ+ performers. They are champions of the Pay What You Want ticketing model to support affordability at the festival, and embed sustainability across their practice by reducing single use items and prioritising sustainable materials in their infrastructure.

Greenside’s funding will allow them to continue operating as an open programming venue, giving artists from non-professional backgrounds a route to access the festival.

It will also support them to increase staff pay further, from Living Wage to paying every team member above the Real Living Wage; facilitating the creation of an additional 24 Festival jobs paid above the Real Living Wage.

To address sustainability, they will move to e-ticketing, transition their programme from print to digital, and look to reduce omissions across their technical operation.

Just The Tonic will use the funding to support their programming of high-quality comedy and to support and underwrite costs for artists who are still recovering from the pandemic.

In 2022, their venue The Tron will be programmed with female performers only, with the aim of addressing gender imbalance in the comedy sector. They will continue their Pay What You Want ticketing model to help with affordability, and as part of their commitment to fair work, all staff will be paid Living Wage.

Support for theSpaceUK will allow them to mitigate costs for artists who have been impacted by the pandemic, whilst keeping access to the festival affordable for creatives.

As a champion of both emerging and established artists, they will continue their commitment to open access programming and supporting new and original writing. They will continue to operate as a Living Wage employer and to offer a programme of staff training.

With their funding, Gilded Balloon will continue to support emerging artists and their development. In consolidating their programme, they plan to reduce the number of overall shows to allow for increased turnaround times between shows (allowing for a better experience for artists, staff and audiences alike).

While all staff are already paid the National Living Wage and above, this fund’s support will enable them to increase the number of staff on site and reduce staff hours. They are also investing in e-ticketing to support sustainability and are reducing the number of flyers produced by investing in digital marketing.

Laughing Horse have received support for the delivery of a range of activities associated with the Free Festival. To address sustainability, they are looking to fully replace their printed programme with an app and improved mobile website.

They will run mental health support sessions for performers and staff before and during the Fringe, and they have committed to a BSL interpreter for several performances to improve access to deaf audiences.

Funding will also support them with equipment costs and with the hiring of paid ticketing staff.

Underbelly’s funding will allow them to increase their minimum pay offer for temporary festival staff from the National Living wage (which they already pay) to the Real Living Wage.

They will also use the funds to hire additional short-term staff to support their existing team during the busy Fringe period, thereby improving working conditions and reducing working hours.

To address sustainability, the support will allow them to invest in e-ticketing. They plan to enhance their accessibility programme with extra captioned shows and a range of shows with BSL interpreters.

Support will also help with the build and maintenance of their temporary venues, and accommodation for their staff during the Fringe.

Monkey Barrell are looking to use their funding to continue to programme diverse and inclusive line-ups, whilst creating greater opportunities for local acts, unrepresented performers and those from non-privileged backgrounds.

They are looking to create a community focused artistic hub to enable creatives to come together at the festival. As of 2022, all year-round staff previously on Living Wage are now paid the Real Living Wage.

This fund will allow them to extend this to all temporary staff during the Fringe, and to create a staff development programme to upskill and develop their wider team.

ZOO’s programming in 2022 is aimed at better reflecting the lives of under-represented or minority audiences, and support from this fund will allow them to subsidise core costs for creatives.

Work by disabled artists is already central to their programming, and this funding will allow them to improve access to their audiences with enhanced BSL, audio description and captioned performances.

They will continue their commitments to paying staff Living Wage and above and to paying freelancers above the recommended rates. They will also continue to support their volunteer programme – which includes budget to address areas such as transport, access needs and childcare.

Funding will allow for Covid mitigations – such as enhanced cleaning, and provision of masks and hand sanitiser.

Pleasance will use the funding to reduce the financial risk to artists attending the Fringe – with targeted interventions which will support debut and early career creatives.

They plan to increase the number of employees in their workforce, reduce working hours during the festival, reduce the ratio of volunteers to paid staff, and provide increased opportunities for staff training. Some funding will also be used to invest in key infrastructure to improve their offering to artists and audiences, such as a reinforced Wi-Fi network to be able to facilitate e-ticketing.

Funding for The Scottish Comedy Festival will enable them to continue their work in programming local acts at the Fringe. Their model is centred around affordability and mitigating financial risk for the artists, and they are especially keen to support working class performers.

To further support affordability, their programme will continue to feature a mixture of Pay What You Want and Pay What You Can shows.

Assembly’s funding will be used to support artists’ attendance at the festival, by assisting with core costs such as accommodation, marketing and underwriting risk. Their programme, which celebrates 40 years at the Fringe this year, includes emerging artists and those from diverse backgrounds, as well as established performers.

Assembly Festival is a Living Wage employer and will use this fund to support increased training for staff and will also use it to mitigate against rising costs. They also aim to undertake research into post-pandemic audience behaviours and will continue their work as a sustainability champion.

On The Road Again: Scottish Government to launch Scotland on Tour live music fund

Musicians, bands, artists and venues will be able to apply to a £750,000 Scottish Government fund to bring new and additional concerts to venues and festivals in Scotland next year.

Scotland on Tour will support the staging of concerts across the whole nation from between January 2022 and January 2023.

Funded by Scottish Government and organised by Active Events, its decision-making panel includes representatives from across the music industry, as well as Creative Scotland, Scottish Enterprise, Highlands and Islands Enterprise, XpoNorth and South of Scotland Enterprise.

Participating artists, venues and festivals will be announced later this year.

Culture Minister Jenny Gilruth said: “Due to the impact of COVID-19, I know many concerts from 2020 and 2021 have been postponed – leaving little opportunity for artists to perform new concerts in traditional venues or concert halls up until late 2022, or even spring 2023.

“So I am very pleased to announce Scotland on Tour, a fund to help artists, venues and the wider music industry by creating new concert opportunities across Scotland next year.

“The fund is not only an exciting opportunity for artists and venues, but also for Scottish audiences, who will have the chance to see the best of Scottish music right on their doorstep.”

Director of Active Events Lisa Whytock said: “The past 18 months have been exceptionally challenging for musicians and promoters around Scotland.

“This fund will allow new concerts from professional musicians to take place across the country, bringing world class performances to cities, towns and local communities whilst simultaneously supporting production companies and skilled freelancers in their delivery.

“We are extremely excited about the project and would like to wholeheartedly thank the Scottish Government for their investment.”

Head of Music at Creative Scotland, Alan Morrison, said: “At the height of the pandemic, Active Events applied to Creative Scotland’s Open Fund for a research project that would identify community partners and increase touring opportunities for musicians when restrictions finally lifted.

“This bold vision for recovery has blossomed into a new touring fund, supported by the Scottish Government, that will breathe life back into the live music sector across the entire country.

“It’s extremely encouraging to see how a seed that was sown in darker times is growing into a major year-long programme that will bring music fans and professional artists of all genres back together again.”

Further details will be announced soon as to how artists and venues can apply to the Scotland on Tour fund, which is expected to open for applications in October. 

Registrations of interest to the fund can be recorded by sending an email to info@scotlandontour.com

Let’s all play our part for the safe return of Edinburgh’s festivals

As Edinburgh’s summer festivals begin in the Capital, the City of Edinburgh Council’s Culture Leaders have welcomed their return, though urge everyone to play their part for a safe, enjoyable August.

In preparation for the launch of the Art, Book, Fringe, Film and International Festivals, robust plans have been drawn up to allow their safe return. Council officers have worked closely with Festivals Edinburgh, the Summer Festivals, the Scottish Government, Event Scotland and other stakeholders to support the staging of programmes within the latest safety guidance.

Culture Leaders have also thanked all those who have made Edinburgh’s festivals possible in 2021, recognising teams from across the Council, from licensing, events, environmental health and public safety to roads teams, noise and waste services.

This is in close partnership with festival operators, the Scottish Government, NHS, Essential Edinburgh and the Emergency Services, who have collaborated to bring festivals back safely and with a new emphasis on outdoor venues.

Citywide planning began in February with the approach continuously updated and adapted to remain up to date with the latest clinical advice and guidance from the Scottish Government.

While Scotland will move out of COVID level 0 on Monday, festival-goers are being reminded that for this first weekend of celebrations level 0 restrictions will remain in place, and that they should continue to follow the guidance.

From Monday, everyone is still encouraged to take care, practice hand hygiene and give one another space, as well as observing mask-wearing rules.

While delighted to welcome the festivals back, safety has remained a priority for the Council. A wider, more detailed planning process has involved different Event Planning and Operation Group meetings for each festival, all feeding into a citywide forum for overview. This year venues will be spread throughout the city and while traditional venues are being used again, a range of exciting new settings will be brought to life this year.

As in previous years, joint inspections between the Council and Scottish Fire and Rescue Service are now underway ensuring safety at all venues. Throughout the festivals, spot checks will take place as well as daily multi-agency meetings to ensure the safe continued running of the festival.

In addition to safety plans the Council is working with Fringe organisers, as always, to make sure the High Street is kept clean and well managed and would remind everyone that when they’re out and about to always bin litter or take it home.

This summer the Council has added 30 additional litter bins to parks and open spaces across the city, including BBQ bins at Inverleith, Portobello Beach and Leith Links. Additional public toilets have also been installed in six parks and new signage placed on 90+ litter bins in hotspot parks and waterside locations.

Culture and Communities Convener Cllr Donald Wilson said: “We’re incredibly proud to be known as the world’s Festival City and recognise the extremely positive contribution our festivals make to our lives, bringing the arts to Edinburgh in a way no other city on the planet enjoys.

“We are delighted see their return this year but want to assure citizens that public health remains a priority and all the Festivals have planned with this in mind. We’ve been working closely with all the organisers and our partners to ensure they can be enjoyed safely and would remind everyone to follow health advice and keep everyone safe. Please remember that for the first weekend of the festivals, we’re still in level 0 of the restrictions framework, so please observe the guidance in place.

“The city and events sector has responded to the crisis with determination and innovation with either hybrid models of delivery or the creation of outdoor/online programmes and whilst this year sees a much smaller offering it will be fantastic to see some of the buzz return to the city.”

Councillor Amy McNeese-Mechan, the City of Edinburgh Council’s Culture and Communities Vice Convener, said: “The return of live August festivals events and performances truly reflects our city’s ongoing recovery and, of course, our cultural DNA.

“There’s no doubt our festivals were greatly missed last year and it’s going to be fantastic to welcome back audiences and to those visiting we ask them to continue to follow the safety guidance and please enjoy this year’s offering safely.

“The planning for the festivals has been an enormous task especially under the ongoing pressures of the pandemic and I would like to thank all the teams and partner organisations who have worked together throughout to bring some of that festival magic back to the city this year.”

Further £17m emergency funding for Culture Organisations and Performing Arts Venues

331 cultural organisations and performing arts venues across Scotland have received a total of £17million in the latest round of emergency Covid-19 funds from the Scottish Government through Creative Scotland.

From comedy clubs and theatres to galleries and production companies, the second round of the Culture Organisations and Venues Recovery  Fund is designed to help prevent insolvency and/or significant job losses due to the impact of COVID-19, and the Performing Arts Venues Relief Fund (PAVR) is helping venues to remain solvent, return staff from furlough, and enable new artistic commissions from freelance artists.

In Edinburgh, the Usher Hall receives £182,445 from the PAVR 2 fund, DanceBase Scotland £223,887 and there’s £500,000 for Capital Theatres. There’s also £342,000 for Leith Theatre, £150,000 for the Traverse and £97,500 for The Queen’s Hall.

Organisations receiving COVR Round 2 support in the capital include North Edinburgh Arts, Hidden Door and Edinburgh Printmakers.

Culture Minister Jenny Gilruth said: “I am delighted that this vital funding is reaching the culture sector, which has endured some of the most challenging restrictions over the past 18 months.

“It’s exciting that the sector can now plan for full reopening. The communal experience of being part of an audience cannot be replicated, and it has been sorely missed since the start of the pandemic.

“The move beyond level 0 will allow the sector to reopen fully, but I know that it will take some time to rebuild. This funding will play a key role in stabilising many venues and businesses as the sector begins to recover.

“The Scottish Government has provided almost £175million of emergency support to the culture, heritage and events sector since the start of the pandemic, and I look forward now to working with the sectors to build for the future.”

Caroline Morgan, Managing Director at Aberdeen’s Tivoli Theatre commented: “This money will mean we can retain our current staff, recruit part time staff, bring our freelance technicians back to work and undertake all necessary requirements to reopen in a safe way at the end of August.

“We’re full steam ahead now with testing equipment, organising staff training, first aid training, implementing a new app for ordering and setting up hand-held scanners for ticketing and deep cleaning the building. We’ll also be able to support local youth groups who perform with us who have also had a really tough time of it. This funding is a life-line having been closed with no income for 17 months.”

Joan Parr, Interim Director of Arts and Engagement said: “Our first priority continues to be supporting the recovery and renewal of Scotland’s art and creative sector as Covid-19 restrictions are eased and the sector can open up again more fully.

“Nevertheless, we remain acutely aware of the critical challenges faced by so many cultural organisations, and we know how vital this funding is in continuing to help protect jobs and support the sustainability of a sector that has felt the impact of the Covid-19 pandemic so significantly.”

A full list of organisations and venues receiving funding in this round of the Culture Organisations and Venues Recovery Fund and the Performing Arts Venues Relief Fund can be downloaded below:

PAVR-Round-2-recipients-1Download
COVR-Round-2-recipients-1Download