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Edinburgh Festival Fringe 2014 31 July – 24 August
25th International Programme New Town Theatre venue 7 Hill Street Solo Theatre venue 41 Hill Street Drama Lodge venue 41a Edinburgh International Conference Centre venue 150
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U N I V E R S A L A RT S F E S T I VA L
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Universal Arts produces and programmes Edinburgh Festival Fringe venues and stage shows and acts as agents and consultants to the performing arts industry
Universal Arts Team Tomek Borkowy CEO & Artistic Director Allie Young Operations Manager & New Town Theatre Venue Manager Courtenay Drakos Hill Street Theatre Venue Manager Neil Foulis Production & New Town Theatre Technical Manager Allan Gray Hill Street Solo Theatre Technical Manager Chris Lord Communications Manager Trish McGuinness Press & Media Manager Keri Dolan Learning & Development Manager Emma Quinn Graphic Design Tomasz Kowol Web Master media enquiries press@universal-arts.co.uk universal-arts.co.uk Universal Arts Productions Ltd., 12 Edina Place, Edinburgh, EH7 5RP +44 (0)131 478 0195
Acknowledgements We cannot build our venues without support from international cultural agencies, sponsors, local businesses and other partners. We do not receive any regular public funding, so we rely on partnerships and donations from our audiences to develop our work and create opportunities for the artists we present. We invest all of our income (ticket sales, bars, sponsorship and donations) into presenting the best international theatre, dance and music at the Fringe and to offer the most comfortable, professional venues. Universal Arts is grateful to all our partners and supporters without whom we would be unable to produce an international programme of such scale and ambition. Awards for our high-quality programmes and our professionally run venues are just two of the reasons why our partners appreciate the benefits of working with us. We are always looking to forge new partnerships with individuals, businesses and organisations who share our passion for high quality theatre, international understanding and collaboration, the best customer care and service and, above all, passionate, entertaining and extraordinary live experiences. To find out about ways in which you can work with us to continually develop our award-winning programme and venues, please email admin@universal-arts.co.uk
Thanks for our 2014 programme to: The Grand Lodge of Scotland and especially Mr David Begg and Mr Clark Wilson; Hill Street Masonic Society; Essential Edinburgh; Zero 88 and Hawthorns for ensuring that our international companies have access to the best technical equipment and skills development
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U N I V E R S A L A RT S F E S T I VA L
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festivals
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Welcome to Universal Arts Festival – our 25th Fringe. We’re proud to be at the heart of this, the biggest live arts festival in the world.
We are international producers, agents and promoters based in Edinburgh. We programme and manage two prestigious Edinburgh festival venues located in the heart of the city – the New Town Theatre and Hill Street Solo Theatre and, this year, we also present the spectacular Philharmonic of Wit at the EICC and, in collaboration with Edinburgh’s own In Your Face Theatre Company two thrilling, visceral shows for Hill Street Drama Lodge. Over the previous twenty-four festivals, we have introduced literally thousands of artists from around the world to UK audiences. We have brought companies to Edinburgh from over 40 countries, making audiences laugh or cry but always striving to create a first-rate theatre experience. This year you can enjoy ancient sit-down comedy from Japan, contemporary vaudeville circus from France, a love story for Scotland from Russia, cutting edge performance from Japan, magical drama from Brazil, the return of big hits – Princess Pumpalot, and Silence in Court (accompanied by the all new Conflict in Court), late evening musical variety shows and the second Hill Street Solo Theatre programme … we hope to welcome you to one or all of our venues. Tomek Borkowy, Artistic Director “dedicated to quality” Daily Telegraph “a long record of welcoming quality international work” The List HERALD ARCHANGEL AWARD WINNERS 2009 for 20-year track record of top international theatre at the Fringe You can keep up-to-date with developments by following us on Facebook and Twitter
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venue150@eicc
Filharmonia Dowcipu (Poland)
Philharmonic of Wit The Philharmonic of Wit turns the classics you know and love upside down in this wacky, witty, sexy show created by pianist and compere Waldemar Malicki, conductor Bernard Chmielarz and director Jacek Kęcik. This extraordinary, riotous show features an orchestra of nineteen professional musicians and opera singers. They can play everything: from Bach, through film music, to heavy metal. Waldemar Malicki comperes with the comic style and panache of Victor Borge – 'incredibly funny, intelligent and a huge dose of great music’ Komediowo.pl. The Philharmonic of Wit is a global phenomenon. Born out of the huge, award-winning Polish prime-time TV show Co tu jest grane (What’s going on or What’s being played now), this unique musical-comedy show uses the potential of classical music to reveal that boundaries between nations do not really exist – we share universal values, as jokes and the music are loved by everyone! The Philharmonic of Wit is classical music applied to 21st century life. Familiar and much-loved operatic and symphonic hits sound as if they were composed today, “drowned in an unusual arrangement of ideas, sounds, voices, instrumental capabilities and volleys of audience laughter. Surprising, elegant, sometimes twisted ... a whole range of positive emotions flows from the stage.” Bilety24.pl filharmoniadowcipu.pl
venue150@eicc I July 31 – August 24 (not 21) I 18:30 (75mins) Tickets: July 31 & Aug 1 previews £8; Mon-Fri £12 (£10), family £30; Sat & Sun £14 (£12), family £36
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new town theatre venue 7 photo: Andréa Magnoni
Cia do Meu Tio (Brazil)
My Uncle’s Shoes Travelling by wagon from town to town, an old clown teaches the art of clowning to his nephew with a rigorous discipline. On their journey through life, between successes and failures, the pair experience moments of anguish, pain, joy, sadness, laughter and tears. It is a relationship with few words but full of respect, humour and above all poetry. In this lyrical comedy drama, the relationship of the characters is driven by classical clowning but with a humanity that reveals deeper aspects of human existence. What is learned? What is taught? Is it worth it? And our life, how should we live it? Cia do Meu Tio has toured widely throughout Brazil. These performances mark its European premiere. osapatodomeutio.blogspot.com
New Town Theatre, Majestic I August 5 – 24 (not 11, 18) I 11:45 (75mins) Tickets: £10 (£5) family £20
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Armazém Theatre Company (Brazil)
The Day Sam Died The Day Sam Died dramatises the ethical choices that define the fate of six people who meet in the corridors of a large hospital. How do you remain pure in a world where everything can be relativised or when life changes drastically in a snap? You are forced to take a stand. Subtitles in English The astonishing Armazém Theatre returns following its hit Fringe 13 show A Mark of Water: “gorgeous, gorgeous, gorgeous … an unexpected treat to discover such an accomplished production” ★★★★★ Mark Fisher, The Scotsman “darkly dreamlike … a physical and often surreal production that plays with form and performance” The Stage armazemciadeteatro.com.br
New Town Theatre, Majestic I August 5 – 24 (not 11, 18) I 13:45 (75mins) Tickets: £10 (£8)
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photo: Amanda Russell
new town theatre venue 7 DdD (France) Jamie Adkins Collectif (Canada)
Circus Incognitus Jamie Adkins is a performer in the vaudeville tradition of Charlie Chaplin and Buster Keaton. With no hi-tech distractions, his irresistible character heroically battles with the everyday objects of life, permanently on the verge of disaster… moving but hilarious.
“Full of Chaplinesque vulnerability, Adkins delivers rubber-limbed clowning at his best, performing immaculately timed feats that have to be seen to be believed. He is the eternal sad character, always understated and as he anxiously juggles, walks the high wire and executes incredible balancing acts, he seemingly makes the impossible look achievable. This breathtakingly talented man performs magic in his funny and utterly engaging not-quite-wordless show, as he surprises and bewitches his captivated audience.” Edinburgh Guide “Frees a pure and profound laugh that gives you wings” Le Monde “Resolutely funny, filled with soul and poetry” Le Devoir “Graceful athleticism and perfect comic timing” NY Times dddames.eu
New Town Theatre, Majestic I July 31 – August 24 (not 6, 12, 18) I 16:00 (65mins) Tickets: Preview July 31 £7 Aug 1, 2 3, 4, 5, 8 9, 10, 15, 16, 17, 22, 23, 24: £14 (£12), family £46 Aug 7, 11, 13, 14, 19, 20, 21: £12 (£10), family £40
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The Thistle (Russia)
The Thistle The Thistle is a musical with an original Russian script and score. It is a love story for Scotland, set in the middle ages, which tells the story of England conquering Scotland in 18 acts. Beautifully sung and performed by a professional cast of ten renowned Russian theatre actors. The Thistle is a passionate story that speaks to Scottish nationalism and pride; an emotive love story between a motherland and her son. Emotive, emotional, compelling! Subtitles in English facebook.com/thistleatfringe
New Town Theatre, Majestic I July 31 – August 24 (not 12) I 18:00 (75mins) Tickets: July 31 preview £7; Aug 1 – 24 Mon – Thu £12 (£10), Fri – Sun £14 (£12)
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DEN Entertainment (Japan)
The Sake Dance and Multimedia show highlights the best of both traditional and contemporary Japan. DEN invites you to the beautiful visionary world of The Sake with aerial acrobatics, comic storytelling and Japanese Rakugo dance, enhanced by world-beating projection mapping and 3D sound. DEN’s motto is “feel Japan through the five senses”, and this performance will certainly stimulate yours as they interpret the process of creating the famous Japanese sake. Featuring artists with diverse backgrounds and skills, DEN will guide you to the twilight zone! Producer/Director David ‘Junya’ Yamada has had a major role in Seong, Japan’s female youth fashion culture with shows such as Tokyo Girls Collection, and produced events for Fendi and Louis Vuitton. He has also directed shows for JIPop princess Kyary Pamyupamyu and the world’s largest and arguably most famous idol group AKB48. den-entertainment.com
New Town Theatre, Majestic I August 2 – 24 I 20:30 (60mins) Tickets: previews Aug 2 & 3 £8; £12 (£10), family £20
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new town theatre venue 7 emeraldBLUE (Scotland)
AVirgin’s Guide to Rocky Horror A tribute to the genius of Richard O'Brien Ever wondered how to do The Rocky Horror Show? Let us take you through the audience participation step by step while revealing the history of the world's most outrageous musical. “An anarchic, zany, sexy romp ... well conceived and cleverly scripted, filled full of audience participation and well packed underwear” Edinburgh Evening News Let's do the Timewarp again! Dress to distress (or just for prizes). This is not The Rocky Horror Show stage production.
New Town Theatre, Majestic I July 31 – August 24 (not 12) I 22:30 (60mins) Tickets: Sun – Thu £12 (£10), Fri & Sat £14 (£12)
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new town theatre venue 7 Cadies Productions and LRStageworks (Scotland)
Princess Pumpalot: The Farting Princess
photos: André Macieira
She's a princess and she farts. What more do you need to know? Can Princess Pumpalot protect Wiffyville Castle from the invasion of the evil Low-Flying Gnomes? Will she win her battle with the nasty Prince? Who will take her to the Royal Birthday Ball?
New Town Theatre, Mysterious
Based on the top-selling book, this is a fast-paced, fun-packed show for all the family. Warning: farting will take place during this performance and audience participation is compulsory!
July 31 – August 24 (not 12) I 11:30 (50mins)
2013 Edinburgh Fringe ★★★★★ smash hit show
Tickets: £11 (£9), family £32
princesspumpalot.co.uk
Cia dos Atores (Brazil)
LaborActorial & Maybe For the first time in Edinburgh, highly acclaimed and award-winning Brazilian company Cia dos Atores (Actors’ Company) presents two multimedia solos, which contemplate modern life in relation to technology. "Vital performance, which redefines theatre", O Globo Review www.ciadosatores.com.br LaborActorial is an impressive interplay between a solo performer and his multiple video selfies, which provokes him to rethink the core of his identity. Subtitles In English. New Town Theatre, Mysterious August 6 – 14 I 16:15 (50mins) I Tickets: £10 (£8)
In Maybe an ordinary man is held hostage by his computer. His thoughts and reflections become transformative and terrifying. Subtitles In English. New Town Theatre, Mysterious August 16 – 24 I 16:15 (50mins) I Tickets: £10 (£8)
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new town theatre venue 7 emeraldBLUE (Scotland)
Silence in Court Jennifer Lyons claims rape. Charles Brand claims it was consensual sex. There are no witnesses. There is no evidence. You, the audience, are the jury and must decide – guilty or not guilty. “An uncomfortable yet engaging and profoundly thought-provoking experience” ★★★★★ Edinburgh Evening News “Highly recommended” ★★★★ Fringe Review
Contains themes of sexual violence. facebook.com/Silence-In-Court New Town Theatre, Committee Room I July 31 – August 24 (not 12) I 18:30 (60mins) Tickets: Sun – Thu £10 (£8), Fri & Sat £12 (£10)
Conflict in Court The long awaited follow-up to Silence in Court. The Right Honourable Marcus Ballie MP is suing Shirley Ann Knot for libel after her paper, The Daily Globe, ran a story claiming he paid a rent boy to spend the night with him. A family man, the Tory MP claims there is no truth in the claim and is seeking damages. It seems like a straightforward case until an unexpected witness arrives to take to the stand. Who will win, tabloid editor or Tory MP? Only you, the jury, can decide. facebook.com/Conflict-In-Court New Town Theatre, Committee Room I July 31 – August 24 (not 12) I 16:30 (60mins) Tickets: Sun – Thu £10 (£8), Fri & Sat £12 (£10)
Sum Theatre (Canada)
My Rabbi A Jew and a Muslim walk into a bar... My Rabbi is a comedic drama about two Canadian best friends who go on spiritual journeys that change their lives forever. A laugh out loud thought-provoking story about the lines that occur between faith and friendship. Saskatoon’s Sum Theatre is dedicated to bringing people together through non-traditional live theatre experiences. This world premiere is Sum Theatre's latest contemporary Canadian play, written and performed by Kayvon Kelly and Joel Bernbaum. Supported by the Saskatchewan Arts Board. New Town Theatre, Mysterious August 5 – 24 I 14:00 (70mins) Tickets: Aug 5 preview £10 (£5); Aug 6 – 24 £12
sumtheatre.com
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new town theatre venue 7 Ten Clowning Street (Scotland)
Referendum and Dumber This September Scotland answers: yes or no. We ask you to make a tougher call: plums or bananas. So pick your sides but then split your sides and laugh as we laugh at them laughing at you! Edinburgh-based ensemble Ten Clowning Street hold a wonky mirror up to the wibbly-wobbly world of capitalist consumer driven culture and cardboard politicians. New Town Theatre, Mysterious July 31 – August 24 (not 11, 12, 13) I 18:15 (60mins) Tickets: Aug 1 & 3 previews £6; Aug 2 preview £7, family £20; Sun – Thu £10 (£8), family £26; Fri & Sat £12 (£10), family £30
Absurdist satirical mirthmaticians on a mission to make you grin, we poke fun right in the eye! How deep are the waters that divide us? Come swim for yourself and find out. Banana or plum, we all laugh as one!
Katsura Sunshine (Japan)
Sit Down Comedy – Japanese-style Hilarious. Fascinating. Unforgettable. Japan’s answer to stand-up comedy is Rakugo – a 400-year-old tradition of “sit-down” comedy. Traditional, but more popular in Japan today than it ever was.
New Town Theatre, Mysterious July 31 – August 24 I 20:00 (60mins) Tickets: July 31 & Aug 1 previews £7; Mon – Thu £10 (£8), family £20; Fri – Sun £12 (£10), family £24
There are almost 800 professional Rakugo comedians working in Japan today, and only one is not Japanese: Katsura Sunshine! Fresh from a 20-city North American tour. Come for an hour of laughter and hilarity, and leave with a little bit of Japan in your heart. katsurasunshine.com
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new town theatre venue 7 Woodstock Taylor and Guests (Scotland)
The Hat Pack world music cabaret Eclectic mixed cabaret in the Mysterious theatre bar with veteran Fringe chanteuse Woodstock Taylor and her band and a changing lineup of international and local guest musicians who will bring you jazz, blues, folk, world music, hip hop, original songwriters and more.
New Town Theatre, Mysterious July 31 – August 24 (not 15 & 22) I 22:15 (90mins) Tickets: July 31 preview £7; Fri 1 & Sat 2, Sat 16 & Sat 23 £12 (£10); Aug 3 – 14 & 17 – 21 & 24 £10 (£8)
Hat wearing is encouraged, but not compulsory; a paltry prize will be awarded nightly for the best hat worn by a member of the audience. What better way to unwind in the hours before midnight than in the company of some of the best acts the Fringe has to offer? scarybiscuits.com/clients/ed-fringe-events
Samba Sene (Senegal) Rise Kagona (Zimbabwe)
Africa Live! A whistle-stop tour of some of the best African music at the Fringe, headlined by popular Fringe performers Samba Sene and Diwan (Senegal) on 15 August and Rise Kagona (Zimbabwe), original member of the legendary Bhundu Boys, and his Jit Jive Trio on 22 August.
New Town Theatre, Mysterious August 15 & August 22 22.15 (90mins) Tickets: £12 (£8)
A different line-up of special guests each night will deliver spine-tingling vocals, exuberant Afrobeats, jiti rhythms and much more, drawn from round the Fringe and round the world. An African Pick of the Fringe with performers from South Africa, Ghana, Zimbabwe, Senegal and Nigeria (not to mention Uganda, UK, USA, New Zealand and beyond). Dancing is highly likely! Rise Kagona – “sunny, intricate, agile yet rock steady guitar lines, whose easy suppleness and sparkle belied their technical prowess” ★★★★ The Scotsman Samba Sene & Diwan – “a blistering tequila sunrise of a gig… not to be missed” ★★★★ Broadway Baby “brilliant” ★★★★ 3 Weeks scarybiscuits.com/clients/ed-fringe-events
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hill street solo theatre venue 41 Hill Street Solo Theatre is the oldest Festival Fringe venue, in constant operation for the last 35 years. It is dedicated to solo performances, which provide a direct, intimate and highly charged encounter between actor (often also writer) and audience. “a hub for solo shows with a single actor owning the stage and commanding the audience’s attention from beginning to end … the connection between actor and audience becomes more intimate” Evening News “this is THE place for intimate fringe theatre” Fringe Review “a firmly established landmark on the Fringe goers' map” The List
Play the Spotlight Theatre (Romania)
Zelda – The Last Flapper “I don’t want to live. I want to love first, and live incidentally.” William Luce’s play for one-woman performer celebrates the life and legacy of Zelda Fitzgerald, one of the most intriguing women of the 20th century, Zelda didn’t seem to care about any of the obstructions she had to face. She was full of life, talent and love and spread them all around her regardless of the uptight society she lived in. Romania’s Play the Spotlight Theatre likes to remember her as a great soul, a devoted wife, and a visionary human being but most of all, an extremely gifted writer, painter and ballet dancer.
Hill Street Solo Theatre, Thespis July 31 – August 24 (not 12) 15:00 (60mins) Tickets: Preview July 31 & Aug 1 £7; July 31-Aug 24 £10
This stunning solo is performed by renowned film, TV and theatre artist Ioana Pavelescu, awarded Best Actress at New York City’s Independent Film Festival 2013, and directed by Liana Ceterchi. "A must see show! An unforgettable and breathtaking Ioana Pavelescu is the disturbed wife of one of the most important writers of the 20th century, Zelda Fitzgerald!” Irina Margareta Nistor (writer, broadcaster, producer) Presented in Association with the Women's Theatre Association IF
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hill street solo theatre venue 41 Anna-Mari Laulumaa (Finland)
God is in My Typewriter Striking one-woman show about the brilliant, tumultuous life of Pulitzer-winning American poet Anne Sexton, blending verse, letters, and therapy session tapes with Butoh and humour to explore the relationship between women, creativity and madness. Child, wife, mother, author; stumbling through life, picking up the pieces. Searching. Falling. Praying. ‘Your performance is stirring. I think you get to the heart of my mother. She would be very happy could she see Hill Street Solo Theatre, Thespis the way that you are carrying on her work’ Linda Gray July 31 – August 24 (not 12) I 16:30 (65mins) Sexton Tickets: July 31 & Aug 1 preview £7; Aug 2 – 24 £10 (£8)
annamarilaulumaa.com
Jägerhorn Productions (Finland)
Waiting for Hitchcock Breathtaking news: Alfred Hitchcock’s long-lost first silent film Number 8 has just been found! The discovery of this thrilling spy story was made by the magician Robert Jägerhorn. But due to some unexpected events, Robert is forced to present the story without the film. The show is full of irresistible magic and brilliant comedy, creating an unforgettable evening of magic and laughter! Robert Jägerhorn is a pioneer within the magic field. His original approach is what he calls situational magic, where he combines various elements of magic and theatre into a comprehensive package. “a Lapland Cary Grant … really amusing … Hitchcock was never so smooth” Nancy Cohen, Huffington Post, New York Hill Street Solo Theatre, Thespis July 31 – August 24 (not 12) 18:30 (65mins) Tickets: July 31 & Aug 1 previews £7; Aug 2 – 24 £12 (£10)
“A charming, light and playful hour, bubbling with mimicry of silent movies, Chaplinesque slapstick, excitement and magical disappearances” Helsingin Sanomat, Finland Best Magic Show 2013, United Solo Festival, New York waitingforhitchcock.com Supported by Embassy of Finland, the Swedish Cultural Foundation in Finland, CircusInfo Finland and the Art Community Association in Finland.
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hill street solo theatre venue 41 Quant Theatre (England)
The Quant You heard there was a killing to be made in the City. So you studied hard at school, got into a good university, studied some more, graduated (with honours) and finally landed a job at the world’s second biggest bank. But the hard work has only just begun. Luckily The Quant is here to help. He’ll guide you through the complicated world of financial risk, show you how to wield weapons of financial mass destruction and make sure you know to get out before the proverbial hits the fan. Just be sure to leave your soul at the door. Take a whirlwind tour of derivatives, leverage, systemic risk and toxic assets with writer-performer Jamie Griffiths, who spent 5 years getting under the skin of the financial sector to produce a 20:05 (55mins) Tickets: July 31 & Aug 1 – 3 previews £5; show that turns traditional city stereotypes on their head. Aug 4 – 24 £10 (£8), family £32 quanttheatre.co.uk
Hill Street Solo Theatre, Thespis July 31 – August 24 (not 12)
LRStageworks (Scotland)
Thief Sailor thrives in the bars, dives and doss-houses of the most squalid ports. Look, you will see him. Sailor lives for robbery, imprisonment and expulsion. Be his victim. Sailor's virtues are simple: rent, theft, and betrayal. Join him. From Liam Rudden (director of 2011's award-winning Cock And Bull Story & 2013's sell-out Silence In Court) comes Thief, a dark and challenging piece of theatre inspired by the works of Jean Genet. Not for the easily offended. Disturbing. Spellbinding. Best Theatre Performance Award, Brighton Fringe 2014
Hill Street Solo Theatre, Thespis July 31 – August 24 (not 12) I 21:30 (50mins) Tickets: Tickets: £10 (£8)
★★★★★ "Incredible performance and writing ... the best play I've ever seen at the Fringe" Brighton Argus playthief.com
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hill street drama lodge venue 41a In Your Face Theatre (Scotland)
The Lieutenant of Inishmore Have you ever been given a protective suit at a show, sat in the middle of the room with the action all round you as everyone and everything is splattered in blood? If not, then you haven't ever taken part in an IYF Theatre experience.
Hill Street Drama Lodge, Master’s Room
The Company return to the Fringe after last year's sell-out five-star production of The Hard Man with an Irish dark comedy from In Bruges writer Martin McDonagh.
July 31 – August 24 (not 6, 12, 13, 20) 15:15, 17:45, 21:15 (75mins)
‘experience what it’s like to sit inside a movie’ BroadwayBaby.com
Tickets: July 31 & Aug 1 previews £7; Mon – -Fri £11 (£9), Sat & Sun £12.50 (£10)
inyourfacetheatre.com
In Your Face Theatre (Scotland)
Trainspotting To celebrate the 20th anniversary of the Irvine Welsh novel, relive the story like never before. Take part in this once in a life time promenade experience and expect heavy drug use, strong language and scenes of both a violent and sexual nature. Expect the walls to move, to be part of a rave and the unnerving claustrophobic darkness. “Like stepping into a time-warp ... a vital restaging that suggests that a brand new generation might just be en route to finding their voice’ ★★★★ Neil Cooper, The Herald This is immersive theatre. This is Trainspotting. inyourfacetheatre.com Hill Street Drama Lodge July 31 – August 24 (not 5, 12, 19) 18:45, 21:00, 23:15 (75mins) Tickets: July 31 & Aug 1 previews £7; Mon – Fri £12 (£10), Sat & Sun £14 (£12)
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exhibitions New Town Theatre
Arnold Ochman photographs Arnold Ochman. Born in Miasteczko Slaskie, Poland in 1968. In 2005 he moved to Stirling, Scotland, where he currently lives. arnoldochman.com
The Dr Who years Photographs and material from Tomek Borkowy’s Dr Who archive.
Hill Street Solo Theatre
Universal Arts – 25 Festivals Programmes and memorabilia from the Fringe 1989 – 2013
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In his annual Fringe essay, Artistic Director Tomek Borkowy asks
ARE WE STARVING THE FRINGE GOOSE THAT LAYS THE GOLDEN EGGS? Undoubtedly the Edinburgh Festival Fringe is the biggest Performing Arts event in the world. It also injects over £120m into the local economy without which the city and region would be much poorer. However there is little real appreciation or understanding of how this wealth is delivered and how fragile it is. Edinburgh Fringe stakeholders fall into two main groups. Investors and Beneficiaries. Theatre companies and performing artists invest their own money to perform at the Fringe. The big investors are venue producers, who convert empty spaces into theatres and engage technical, marketing and front of house staff. The second group of stakeholders are Beneficiaries: the flat owners and hoteliers renting accommodation to 40,000 performers and over 500,000 visitors; landlords renting premises to venue producers; suppliers of technical equipment; the printers; pub and restaurant owners; retailers; transport companies; and the City Council. All of them benefit from the greatest arts event in the world – without investing in it. And what is wrong with this, you may ask? Surely we live in a market economy and everybody is entitled to take any opportunity to make money. The problem is that many of the beneficiaries not only grab opportunities to make extra money, but effectively profiteer to the extent of milking the Fringe cow to inevitable death. During the 25 years that I have produced a Fringe venue the cost has risen by over 600%, which is greatly more than the increase of the average ticket price. Many of the cost increases are due to ever-growing statutory obligations imposed by legislators with little regard to the cost of implementation. For example, the price of a temporary theatre licence in Edinburgh is the most expensive in the world. Venue producers have no choice; they have to pay.
The most outrageous profiteers however are accommodation and property owners. For many years, hotels have imposed a special “festival” rate – often double the high-season rate – and then they campaign vigorously against a £1 festival bed tax. Residential accommodation rents double or even quadruple during the Festival and rental fees for buildings used as Festival venues continue to rise much faster than inflation. I have to say however, that Universal Arts’ landlords at the Freemasons’ Hall on George Street and the Hill Street Masonic Society are notable exceptions and I thank them for that. I am not a Mason but maybe there is something in their moral code that makes them more understanding and supportive. The biggest landlord of the Fringe is Edinburgh University and therefore one of biggest beneficiaries. In the last eight years students’ accommodation rented out to Fringe companies has risen over 200% with the biggest increases in the last three years. For a number of festivals we have presented shows in the University’s Old College Quad. This year we had lined up one of Poland’s most impressive outdoor puppetry companies offering performances plus free family workshops and a free exhibition. Unfortunately this year’s fee has risen to a level that is now disproportionate to the level of facilities and services offered and beyond what the company could afford. As a venue producer I am well aware of what it costs to convert a space, to provide a high quality performing environment, to legally staff it for 15 hours a day and run a four-month PR campaign to support the presented work. I believe that in comparison only a tiny fraction of these costs are needed to run the Old College Quad as an outdoor venue with no seating installed and when lights and sound are provided by the performing company.
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21 There are many similar examples across the city contributing to a growing international reputation of Edinburgh as being greedy. Every year the beneficiaries are waiting for the Fringe Goose to lay for them another golden egg. But they don’t see that the Goose is being starved. The culture of profiteering is definitely not in the interests of the city and Fringe. I urge the University, as the leading landlord, to rethink its relationship with the world’s premier arts event. Currently 75% of the Fringe audience attend licenced venues. In the last decade only one or two new venue producers have been prepared to take the risk of producing a venue, because it is too costly, too risky and too stressful. And they are right. The costs of producing a professional venue ranges from £200K to well over £1m. Given that our Fringe industry is totally self-financed, the risk is enormous and when the old timers such as myself retire, who will be willing to pay to create the professional venues of the future? Will the Fringe Goose simply die? Can Edinburgh afford that? As a reaction to the growing costs of participation, there are now three Free Fringe managements mainly presenting first time performers and amateurs in bars and pubs. Their investment is negligible as they don’t pay rent, don’t provide proper theatre facilities or need temporary theatre licences, using the landlords’ year-round entertainment licence. Landlords are happy to accommodate these unregulated and often unsafe “free venues” as they make money from increased alcohol and food sales. The Free Fringe has already become a threat to smaller licenced and well-equipped venues. This could have long-term consequence for the entire Festival including the Fringe Society. The Free Fringe has secured a number of places on the Society’s Board of Directors. The irony is that although Free Fringe participants make significant use of Fringe Office services, on principle they don’t sell tickets through the Fringe Box Office, effectively working against the financial stability of the organisation. Since the 2008 crisis, the Fringe Office under the leadership of Kath Mainland and her supportive team, has become a better and stronger organisation.
However, the lack of a long-range strategic vision from a weak Board of Directors is tricky for the entire festival. The Fringe Office has grown to perform many more tasks than ten years ago. This enlargement has spawned a corporate structure, which has become a problem in itself. Because of the size, its prime responsibility has become its own well-being. This contradicts the purpose of the Society’s existence, which first and foremost is constituted to serve and support Edinburgh Fringe participants, venue producers and promoters. The main source of the Fringe Office income is its commission on ticket sales. Since a growing number of the Free Fringe participants, supported by a number of Society Board members, refuse to sell tickets through Fringe Box Office, the Fringe Office has to look for other sources of income. A key one has become advertisements in the Fringe brochure. It is expensive and therefore gives advantage to the wealthiest companies, affluent comedy agencies and commercial companies. It looks as though the purpose of this advertising is to make money for the Fringe Office. I believe that removing ALL adverts, except commercial advertising not connected with performances, would bring back a genuine level playing field and an impartial Fringe Society. The Festival Fringe’s survival, and continued economic benefit to the city, depends on a diverse programme from around the world. To deliver this we need participation in the Fringe to be an affordable experience for performers and visitors. The long-term health of the Fringe largely depends on whether the beneficiaries are prepared to be part of the solution. So, here’s to more joined-up thinking and meaningful partnerships and a Golden Egg for everybody! Tomek Borkowy
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an independent creative Scotland … Scots and Poles have a long history. Since the 16th century Scots have been active in Poland. The most enlightened mayor of Warsaw was a Scot – Alexander Charmer. Scots introduced potatoes as a field crop to Polish agriculture and started to make vodka from it. I call myself a Scottisised Pole. I found my new home here and I love Scotland. I work hard, pay my dues and I have earned my right to vote in the referendum. I will vote YES for Independence because as a Pole I understand what it means to be free. My country fought for independence for 200 years and 32 years ago I escaped from my subjugated motherland. Unlike the UK, the Scottish Government has created opportunities for Poles and other foreigners to settle, work and build our future in Scotland. London’s Conservative government and parties opposing independence treat foreigners as freeloaders and scroungers, who are coming to the UK to receive benefits. But foreigners are hard-working and valued employees and we have earned our right to a place in this country and to a vote for its, and our, future. I will vote YES because Scottish Independence is the best option for us all. If we lose this vote, our future within the UK could be difficult. The London government, pressurised by British far-right-wing parties, will lead the UK to exit from the European Union and lurch even further to the right. Scotland is in a much better position than many small countries that have gained independence in the last 25 years. On our own WE CAN forge our own destiny; as part of the UK we will continue to be a ‘northern territory’. LET’S VOTE YES FOR INDEPENDENCE! Tomek Borkowy, Artistic Director, Universal Arts
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I was born into a Scottish, working class family, always voting Labour. But times change, and so must I, with a referendum leading to an independent Scotland. I was fashioned in my political beliefs firstly by my Scottish granny, my parents, friends and experiences since returning home 30 years ago. But there was the ‘another’: my father who came to Scotland to study in the 1920s from British India, instilling the need for education and independent thinking. He gloried in the creation of Pakistan, independence for India and for every country that also gained independence. Once married, with children in Pakistan and Bangladesh, I experienced military dictatorships, stood in queues to vote, had my thumb & forefinger marked with indelible ink, and lived through a deadly war fought for independence. For the sake of my grandchildren here, and future generations, maintaining the status quo with social economic deprivation in Scotland is not an option, so seizing the opportunity to shape an independent Scotland is a must. It won’t be roses all the way. Has it ever been? I’m told that businesses need stability and a Yes vote could be disruptive. For whom? Companies, Shareholders? All with their ethos of profit first? Possible hiatus regarding EU membership? But what if a UK referendum removed Scotland from the EU? ‘Stability’ is not the reason for the referendum. Scotland’s future is. As women, our experiences and aspirations are vital … I’ve joined www.womenforindependence.org I want my vote to count where it’s needed. I’m voting for my independent Scotland. Selma Rahman, writer and Director of Fife Racial Equality Council
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23
I sometimes wonder what kind of Scotland we would be living in today if the SNP surge in the mid-1970s had led to independence.
I think not. A better Scotland lies within our grasp – if we vote YES and take control of our destiny.
With 11 MPs and around a third of the Scottish vote in the October 1974 election, they were still well short of a mandate for independence.
Gerry Cassidy, writer and publisher
But just imagine... Scotland had a steel industry and car manufacturing. Margaret Thatcher and her devastation were still a few years in the future. What if we had been merely outside observers of the de-industrialisation of the UK rather than a major victim of it? What if we hadn’t been part of a society that has seen a relentless increase in child poverty and a gradual whittling away of individuals’ rights to the point where the most vulnerable members of society are defenceless against a government intent on easing the burden on the very richest while tightening the screw on the have-nots? I’m voting Yes in September not because I’m a nationalist (I’m not) but because I believe that here is an opportunity to change our society for the better. There are no guarantees. The simple act of becoming independent will not produce a copper-bottomed assurance that Scotland will have a progressive, more caring government. That will be up to us. It will be our opportunity to elect a Scottish Government that we believe will lead to a fairer, more equal society, a society that will look after its most vulnerable members. Can we do that while remaining part of the United Kingdom, where the likes of David Cameron and Nigel Farage win elections while being widely rejected in Scotland?
So, I'm voting YES in September. Why? Well for many reasons. I remember the dark days of the late ‘70s, when the Tory government, under Margaret Thatcher, stole and abused industry across Scotland. I grew up in Wishaw; a stone's throw from Ravenscraig, the heart of an industrial town. And a Labour heartland. Industry died and communities died. The devastation of the area lingers on. Under the current Tory government we see the systematic demise of the NHS and a rise in the number of food banks across the United Kingdom. That's not the kind of future I want for my teenage daughters. I took them to the opening of the Scottish Parliament in 1999 – they were three and two at the time. I told them this was their history. They didn't understand; they do now! An Independent Scotland, I believe, will give them a better chance for a prosperous future; a fairer future and a fairer society. I'm not blinkered – I don't expect change overnight, but I would hope for positive change in the coming years. I'm voting YES for my future and for that of my children. I'm voting YES for a democratic Scotland and a fairer life ahead. Trish McGuinness, arts PR consultant
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universalartsfestival.com
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Tickets and Information
0131 226 0000 (from 11 June – Fringe box office) www.universalartsfestival.com Tickets are also available directly from www.edfringe.com NEW TOWN THEATRE
HILL STREET SOLO THEATRE
Fringe Venue 7, Freemasons’ Hall, 96 George Street, EH2 3DH
Fringe Venue 41, Hill Street, EH2 3JP
BOX OFFICE from 31 July: 0131 220 0143
BOX OFFICE from 31 July: 0131 226 6522
The beautiful and lavishly decorated Freemasons Hall features four well-equipped and comfortable theatres. Situated 300m from the Assembly Rooms and 300m from the International Book Festival, it is ideally placed in the city centre.
The oldest Fringe venue constantly in operation (40 years) is a two-minute walk from New Town Theatre and three minutes from the Assembly Rooms and the International Book Festival. The venue is dedicated to solo theatre or one-person shows.
Please note we do not have level access to the venue. Please call 0131 220 0143 (from 31 July) to find out how we can assist with your visit.
Please note we do not have level access to the venue. Please call 0131 226 6522 (from 31 July) to find out how we can assist with your visit.
VENUE 150@EICC
HILL STREET DRAMA LODGE
Fringe Venue 150, 150 Morrison Street, EH3 8EE
Fringe Venue 41a, Hill Street, EH2 3JP
BOX OFFICE: 0844 847 1639 The Edinburgh International Conference Centre is just two minutes from Lothian Road and ten minutes from Princes Street. It is fully accessible to all patrons.
BOX OFFICE from 31 July: 0131 226 6522 The venue shares the Hill Street Masonic Lodge with the Hill Street Solo Theatre. Please note we do not have level access to the venue. Please call 0131 226 6522 (from 31 July) to find out how we can assist with your visit.
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at a glance New Town Theatre Show
Company
time
duration dates
no show venue
see page
Princess Pumpalot
Cadies & LRStageworks
11:30
50m
31 July- 24 Aug
12
Mysterious
11
My Uncle’s Shoes
Cia do Meu Tio
11.45
75m
5-24 Aug
11, 18
Majestic
5
The Day Sam Died
Armazém Theatre
13.45
75m
5-24 Aug
11, 18
Majestic
6
My Rabbi
Sum Theatre
14:00
70m
5-24 Aug
Mysterious
12
Circus Incognitus
DdD / Jamie Adkins
16:00
65m
31 July-24 Aug
6, 12, 18
Majestic
7
LaborActorial
Cia dos Atores
16.15
50m
6-14 Aug
Mysterious
11
Maybe
Cia dos Atores
16.15
50m
16-24 Aug
Mysterious
11
Conflict in Court
emeraldBLUE
16:30
60m
31 July-24 Aug
12
Committee Room 12
The Thistle
The Thistle
18:00
75m
31 July-24 Aug
12
Majestic
8
Referendum & Dumber
Ten Clowning Street
18:15
60m
31 July-24 Aug
11, 12, 13
Mysterious
13
Silence in Court
emeraldBLUE
18.30
60m
31 July-24 Aug
12
Committee Room 12
Sit Down Comedy
Katsura Sunshine
20:00
60m
31 July-24 Aug
Mysterious
The Sake
DEN Entertainment
20:30
60m
2-24 Aug
Majestic
9
The Hat Pack
Woodstock Taylor & guests
22.15
90m
31 July-24 Aug
Mysterious
14
Africa Live!
Samba Sene
22:15
90m
15 Aug
Mysterious
14
Africa Live!
Rise Kagona
22:15
90m
22 Aug
Mysterious
14
A Virgin’s Guide to Rocky Horror
emeraldBLUE
22:30
60m
31 July-24 Aug
Majestic
10
15, 22
12
13
Hill Street Solo Theatre Show
Company
time
duration dates
no show venue
see page
Zelda – the Last Flapper
Play the Spotlight Theatre
15:00
60m
31 July-24 Aug
12
Thespis
15
God is in My Typewriter
Anna-Mari Laulumaa
16:30
65m
31 July-24 Aug
12
Thespis
16
Waiting for Hitchcock
Jägerhorn Productions
18:30
65m
31 July-24 Aug
12
Thespis
16
The Quant
Quant Theatre
20.05
55m
31 July-24 Aug
12
Thespis
17
Thief
LRStageworks
21:30
50m
31 July-24 Aug
12
Thespis
17
Hill Street Drama Lodge Show
Company
time
duration dates
no show venue
see page
Lieutenant of Inishmore
In Your Face Theatre
15:15
75m
31 July- 24 Aug
6, 12, 13, 20
Master’s Room
18
Lieutenant of Inishmore
In Your Face Theatre
17:45
75m
31 July- 24 Aug
6, 12, 13, 20
Master’s Room
18
Trainspotting
In Your Face Theatre
18:45
75m
31 July-24 Aug
5, 12, 19
Almaz
18
Trainspotting
In Your Face Theatre
21:00
75m
31 July-24 Aug
5, 12, 19
Almaz
18
Lieutenant of Inishmore
In Your Face Theatre
21:15
75m
31 July- 24 Aug
6, 12, 13, 20
Master’s Room
18
Trainspotting
In Your Face Theatre
23:15
75m
31 July-24 Aug
5, 12, 19
Almaz
18
venue150@eicc Show
Company
time
duration dates
no show venue
see page
Philharmonic of Wit
Filharmonia Dowcipu
18.30
75m
21
4
31 July-24 Aug
Auditorium
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MAP
27
GEORGE STREET HILL STREET
QUEEN STREET HANOVER ST
FREDERICK ST
CASTLE ST
PRINCES STREET
WESTERN APPROACH RD
JOHNSTON TERRACE MORR IS
ON S T BRE AD S T
VENUE 150@EICC
GRASSMAR
KET
NEW TOWN THEATRE
COWGATE
HILL STREET SOLO THEATRE HILL STREET DRAMA LODGE
ACCESS
Parking There is metered parking on/adjacent to both George Street and Hill Street and in the vicinity of the EICC. Tickets are required 8.30am – 6.30pm Mon to Sat and time is limited to 2 hours. For longer-term parking: NCP Car Park on Castle Terrace close to Traverse Theatre. Public Transport New Town Theatre, Hill Street Solo Theatre and venue150@ EICC are easily reached by public transport as many buses serve George Street and Lothian Road. Day and weekly tickets available. www.lothianbuses.com
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universalartsfestival.com "a crucial part of the fabric of the Fringe, bringing music, theatre and dance from all over the world� The Herald