AL RE
20142015
LEVEL 1 S TA L L S V35
DEAD SIMPLE
R IRE
15
KING’S T H E AT R E 7:30 pm £15.00
Tue 3-February-2015 BOX OFFICE 0131 529 6000
GROUPS (8+) 0131 529 6005
15
MORE FOOL ME
eptember-2014
0
AL RE
GROUPS (8+) 0131 529 6005
5-Feb-2015 7:30 DCI £34.50 G11 STA 05022015 Dewar
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THE SLAB BOYS
15
KING’S T H E AT R E 7:30 pm £19.50
Thu 12-March-2015 BOX OFFICE 0131 529 6000
GROUPS (8+) 0131 529 6005
15
May 2014
0
AL E
GROUPS (8+) 0131 529 6005
TO KILL A MOCKINGBIRD 9-February-2015 7:30 DCI £29.50 B22 STA 09022015 Henderson
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LEVEL 1 S TA L L S Q14
ALADDIN
R IRE
15
KING’S T H E AT R E 2:00 pm £25.00
Fri 2-January-2015 BOX OFFICE 0131 529 6000
GROUPS (8+) 0131 529 6005
FESTIVAL THEATRE A STREETCAR NAMED DESIRE 11-May-2014 4:00 UCI £43.50 C35 STA 19032015 Syme
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GROUPS (8+) 0131 529 6005
20142015
MADAMA BUTTERFLY SCOTTISH OPERA
GROUPS (8+) 0131 529 6005
KING’S THEATRE PEPPA PIG’S BIG SPLASH 13-April-2014 10.00 FST £14.50 U22 STA 13042014 Miller
THE FANTASTIC FUNFAIR SINGING KETTLE 15-June-2014 3:00 FST £13.00 D37 STA 15062014 Keddie
LEVEL 4 LEFT UPPER C35
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LEVEL 1 S TA L L S U22
PEPPA PIG’S BIG SPLASH
KING’S T H E AT R E 10.00 am £14.50
Sun 13-April-2014 BOX OFFICE 0131 529 6000
GROUPS (8+) 0131 529 6005
SINGING KETTLE
BOX OFFICE 0131 529 6000
GROUPS (8+) 0131 529 6005
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18-February-2015 7:30 FST £26.50 V19 STA 18022015 Smith
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27- May-2014 7:00 FST £16.00 E12 STA 270514 Loudon
LEVEL 1 S TA L L S E12 KING’S T H E AT R E 7:00 pm £16.00
Tue 27-May-2014 GROUPS (8+) 0131 529 6005
20142015
TOP HAT
KING’S THEATRE A MIDSUMMER NIGHT’S DREAM PROPELLER
GROUPS (8+) 0131 529 6005
A STREETCAR NAMED DESIRE 27-December-2014 7:30 DCI £42.50 B29 STA 27122014 Clement
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A MIDSUMMER NIGHT’S DREAM PROPELLER
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Wed 16-April-2014 BOX OFFICE 0131 529 6000
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20142015
edtheatres.com
ANNUAL REVIEW 2014/15
edtheatres com
L 1 S C
ONE MAN, TWO GUVNORS
F T 7
Wed 18-February-2015
£
FESTIVAL THEATRE 06-December-2014 7:30 FST £29.00 C33 STA 06122014 Ross
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GROUPS (8+) 0131 529 6005
20142015
SLAVA’ SNOW SH
SLAVA’S SNOW SHOW
Sat 6-December-2014
GROUPS (8+) 0131 5
20142015
THE NUTCRACKER SCOTTISH BALLET
FESTIVAL THEATRE GRUPO CORPO 4-November-2014 7:30 FST £12.50 L8 STA 04112014 Parr
GROUPS (8+) 0131 529 6005
L 1 S C
F T 7
Sat 27 December 2014 BOX OFFICE 0131 529 6000
20142015
Fri 3-October-2014
BOX OFFICE 0131 529 6000
FESTIVAL THEATRE
F E S T I VA L T H E AT R E 7:30 pm £31.50
Thu 9 October 2014
3-October-2015 7:30 FST £29.50 A22 STA 03102014 Clark
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LEVEL 1 S TA L L S L15
REGENERA
REGENERATION
BOX OFFICE 0131 529 6000
HETTY FEATHER
HETTY FEATHER
16-April-2014 7:30 DCI £19.50 J18 STA 16042014 Hendry
ONE MAN, TWO GUVNORS
20142015
KING’S THEATRE
20142015
BOX OFFICE 0131 529 6000
FESTIVAL THEATRE
F E S T I VA L T H E AT R E 3:00 pm £13.00
Sun 15-June-2014
KING’S THEATRE
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THE FANTASTIC FUNFAIR
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20142015
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20142015
TOP HAT 9-October-2014 7:30 FST £31.50 L15 STA 091014 Goldblatt
F E S T I VA L T H E AT R E 7:30 pm £40.50
Sat 26-April-2014
BOX OFFICE 0131 529 6000
FESTIVAL THEATRE
KING’S T H E AT R E 7:30 pm £29.50
Mon 9-February-2015
MATTHEW BOURNE
26-April-2014 7:30 DCI £40.50 C28 STA 26042014 Bromley
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LEVEL 2 DRESS B22
TO KILL A MOCKINGBIRD
FESTIVAL THEATRE
LEVEL 2 DRESS C28
SWAN LAKE
SWAN LAKE MATTHEW BOURNE
BOX OFFICE 0131 529 6000
F E S T I VA L T H E AT R E 4:00 pm £43.50
Sun 11-May-2014
20142015
BOX OFFICE 0131 529 6000
20142015
LEVEL 3 RIGHT DRESS G11
Thu 5-February-2015
20142015
FESTIVAL THEATRE
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F E S T I VA L T H E AT R E 7:30 pm £34.50
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F E S T I VA L T H E AT R E 7:30 pm £24.50
GROUPS (8+) 0131 529 6005
BIRMINGHAM ROYAL BALLET
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LEVEL 2 DRESS A28
ETHERLANDS NS THEATER 2
LEVEL 3 DRESS E8
F E S T I VA L T H E AT R E 8:00 pm £25.00
Sat 27-September-2014
COPPELIA
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LEVEL 1 S TA L L S E20
ROSS NOBLE
20142015
COPPELIA
20142015
R IRE
27-September-2014 8:00 FST £25.00 E20 STA 27092014 Richardson
BOX OFFICE 0131 529 6000
FESTIVAL THEATRE
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20142015
ROSS NOBLE
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LEVEL 1 S TA L L S E24
TEPHEN FRY:
FESTIVAL THEATRE
£ edtheatres.com
20142015
GRUPO CO
Tue 4-November-2014 BOX OFFICE 0131 529 6000
GROUPS (8+) 0131 5
A YEAR IN REVIEW Following a blockbuster year at the box office in 2013/14 (‘the War Horse effect’) and another very strong year in 2014/15, I am delighted to report that we have been able to clear the Trust’s accumulated deficit – which stood at £935,000 in March 2011 – one year ahead of schedule and create a surplus of £172,000 which has been carried forward into 2015/16. This is a significant achievement in the year when we also celebrated 20 years of the Festival Theatre, and were recognised with two major accolades as an employer – receiving Investors in People Silver status and inclusion in The Sunday Times’ list of the 100 Best ‘Not-for-Profit’ Companies to work for. We continue to work with international and national theatre companies, alongside local amateur groups to bring the best possible programme to our stages in the Festival Theatre, the King’s Theatre and our Studio at the Festival Theatre. Alongside our programme of Comedy, Dance, Drama, Music and Opera, we have seen a huge expansion in our Learning & Participation work over the last few years. At the heart of what we do, this work introduces new audiences to our theatres and makes our activities accessible to an ever-expanding base of people of all abilities and means. The successes of the year past have been made possible by the support of our Board and the hard work and dedication of the extraordinarily talented team of people who work in our theatres. Duncan Hendry Chief Executive Festival City Theatres Trust
CONTENTS
PHOTO: GREG MACVEAN
COMEDY P4 | DANCE P6 | DRAMA P8 | FAMILIES P10 FESTIVALS P12 | MUSIC P14 | STATISTICS P16 | LEARNING & PARTICIPATION P18 | A WORD FORM OUR CHAIR P24 PERFORMANCE SUMMARY 2015 P25 | SUPPORTERS P26
COMEDY
MICHAEL PALIN. PHOTO: ALY WIGHT
Kings and Queens of comedy have graced our stages this past year. We had sell-out shows from Kevin Bridges and Sarah Millican, some cerebral surrealism from Ross Noble, musical satire from Flanders and Swann, feminist agitprop from Caitlin Moran, new material from Dylan Moran, wilful sneering and talk about wee from Stewart Lee, and a heartfelt plea from Eddie Izzard for us to stay in the Union. Stephen Fry and Michael Palin were in Edinburgh within days of each other to promote their memoirs and both generously took time out to support our seat dedication scheme. You can now sit in Michael’s chair at the King’s (Stalls L30) and Stephen’s (Stalls J40) at the Festival Theatre.
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D SOLT OU
in 20es minut
KEVIN BRIDGES
DANCE
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No other venue in Scotland can lay claim to presenting the widest variety and exceptional quality of dance as the Festival Theatre. In 2014/15, we welcomed contemporary dance from France (Companie Kafig), the Netherlands (NDT2), Brazil (Grupo Corpo) and the UK (Richard Alston and Rambert, returning to Scotland with their seminal work Rooster). Our ballet programme was led by a stunning season from Scottish Ballet including The Crucible With Ten Poems, A Streetcar Named Desire and their revival of Peter Darrell’s The Nutcracker, a strong representation from the English national companies - Birmingham Royal Ballet, with Coppelia and Northern Ballet, with Romeo and Juliet – and some bold new interpretations of classic tales, with Matthew Bourne’s Swan Lake and balletLORENT’s Rapunzel.
‘ We are thrilled to be entertaining audiences and continuing to make dance as accessible as possible to the people of Scotland. We look forward to working alongside the Festival Theatre in the years to come to produce enchanting ballets for all the family.” Scottish Ballet Artistic Director Christopher Hampson
In the first full financial year of the new Studio at the Festival Theatre, we were able to present smaller scale work by local Scottish dance companies including Errol White Company and Edinburgh Choreographic; host the Make or Break hip hop showcase and programme dance workshops and open rehearsal events that complemented the work on our main stage.
MATTHEW BOURNE’S SWAN LAKE
NDT2
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RICHARD ALSTON’S HÖLDERLIN’S FRAGMENTS
The Nutcracker’s Christmas run at the Festival Theatre was the biggest-selling dance show of 2014/15 – selling over 29,000 tickets and providing Scottish Ballet with their biggest audience on record.
DRAMA
9
THE KITE RUNNER
TO KILL A MOCKINGBIRD
In the past three years, the programming of drama at the King’s Theatre has been a particular focus. Ticket sales have risen by 41.3% since 2012/13 and in the past financial year our efforts were rewarded with commercial and critical acclaim for shows including Regeneration, Sunset Song, The Kite Runner, To Kill a Mockingbird, Twelve Angry Men and Birdsong.
‘Regent’s Park Theatre’s production of To Kill a Mockingbird is both harrowing and heart-warming; the emotional depth of the story cleverly accentuated and drawn out through innovative framing and outstanding acting. The only complaint is that, with its limited run, it is likely to sell out before it can be enjoyed by all.’
SUNSET SONG
All Edinburgh Theatre’s HHHHH review of To Kill a Mockingbird at the King’s Theatre on Monday 9 February 2015.
REGENERATION
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‘Minister Colquohoun (Fraser Sivewright) closes the show with a riveting address at the dedication of the village war memorial in which he declares “Nothing is true but change”.’ The Edinburgh Evening News’ HHHHHH review (in a 7 star review rating) of Sunset Song at the King’s Theatre on Tuesday 7 October 2014. The review includes notable mention of FCTT staff member Fraser Sivewright.
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Peppa Pig’s Big Splash sold
6,000
seats at the King’s Theatre
320,000 tickets were sold
across the whole UK tour, which grossed in excess of
£4.6m
‘One thing that stood out was how all the staff rushed around to make sure all the kids could see with boosted seats and that everyone was happy before the show started. Wonderful.’ What’s Good To Do’ HHHHH review of Peppa Pig at the King’s Theatre, April 2014
ORLAITH AND NIAMH MCKERNAN AT THE KING’S. PHOTO: PHIL WILKINSON
FESTIVALS
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‘ Simply breathtaking… the triumph of an artist still finding new ways to transport and be transported.’ The Herald’s HHHHH review of Van Morrison at the Festival Theatre on Tuesday 22 July 2014 as part of the Edinburgh Jazz & Blues Festival.
THE NATIONAL THEATRE OF SCOTLAND, THE EDINBURGH INTERNATIONAL FESTIVAL AND THE NATIONAL THEATRE OF GREAT BRITAIN PRESENT JAMES II: DAY OF THE INNOCENTS BY RONA MUNRO, DIRECTED BY LAURIE SANSOM PHOTOGRAPHY BY MANUEL HARLAN JAMES II L TO R: PETER FORBES (BALVENIE: LATER, EARL OF DOUGLAS), ANDREW ROTHNEY (JAMES II), BLYTHE DUFF (ISABELLA STEWART, A PRISONER)
AMERICA FERRERA AND HUSBAND RYAN PIERS WILLIAMS AT THE HYENA OPENING CEREMONY, FESTIVAL THEATRE, JUNE 2014. PHOTO: PAKO MERA © EIFF
In its 20th anniversary year, the Festival Theatre certainly lived up to its name. During the summer, we hosted four festivals – the Edinburgh International Film Festival, The Edinburgh Jazz & Blues Festival, the Edinburgh International Festival and, in The Studio, Edinburgh Festival Fringe performances were presented by Underbelly. Outwith the festivals season, we hosted performances in Imaginate, Puppet Animation Festival, and Luminate, Scotland’s creative ageing festival. More than 30,000 people saw The James Plays at the Festival Theatre in August 2014. The trilogy exploring the reign of the Stuart kings in 15th century Scotland has become one of the biggest ticket-sellers in the history of the Festival. 12
MUSIC
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Everything from sold-out gigs from the likes of James Blunt to big-budget West End musicals with full orchestras and the high dramatic peaks of Scottish Opera, who presented five operas in our last financial year as well as their enchanting children’s show for 3-4 year olds, KidO, performed in The Studio at the Festival Theatre in March 2015. Madama Butterfly (May 2014) was the first Scottish Opera production to rehearse and open in Edinburgh and went on to play to over 21,000 people across Scotland.
‘The wit is glorious’ The Scotsman’s HHHH review of Avenue Q
‘ an evening of sumptuous tunes, compelling emotions laid raw, and a near-flawless performance in the title role by South Korean soprano Hye-Youn Lee. What’s not to enjoy?’ Scottish Daily Express’ review of Scottish Opera’s Madama Butterfly
‘ Colourful, camp and controversial, The Producers, Mel Brooks’ satirical celebration of bad taste, goose-stepped into the Festival Theatre last night with a dream cast.’ The Edinburgh Evening News’ HHHHHH review (in a 7 star review rating) of The Producers at the Festival Theatre, Monday 23 March 2015
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LEAD SOPRANO HYE-YOUN LEE WITH A GIANT ATLAS MOTH AT BUTTERFLY WORLD IN EDINBURGH
STATISTICS
w PERFORMANCE INCOME BY GENRE
w WHERE OUR AUDIENCES COME FROM
n from Scotland n Customers but not in EH postcode from outside n Customers of Scotland
Customers in EH postcode
M isc 2%
Pa nt o2 2%
Op era 7%
11 % M us ica l
M us ic 5%
Dr am a1 8%
Da nc e2 5%
Am ate u Fa r 3.5 mi % Co ly 2. me 5% dy 4%
TICKET 17% 22%
61%
Total Bookers: 78,953
w ELIMINATION OF THE DEFICIT
£200,000
+£172,000
0 -£200,000 -£400,000
– Projected elimination of deficit – Actual elimination into surplus
-£600,000 -£800,000 -£1million March 2011 16
March 2012
March 2013
March 2014
March 2015
March 2016
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RELAXED PERFORMANCE OF ALADDIN. PHOTO: PHIL WILKINSON
OVERCOMING BARRIERS TO ACCESS
AUDIENCE ENJOYING A PERFORMANCE OF A CLEAN SWEEP, STAGED AS PART OF A PILOT DEMENTIA FRIENDLY COMMUNITIES EVENT. PHOTO: GREG MACVEAN
In January 2015, we hosted the first relaxed performance of the King’s panto. This was our eighth relaxed performance at our theatres following a number of successful partnerships with producers keen to work with us to offer accessible performances for children with additional learning needs. Working with our incredible panto cast including our stars Allan Stewart, Andy Gray and Grant Stott and our generous supporter Radio Forth’s Cash for Kids, we gave 936 children and young people the opportunity to enjoy the magic of Christmas pantomime. All children and young people at an Edinburgh Special School were offered the chance to see a live performance at one of our theatres, with teachers able to choose between the panto at the King’s and relaxed performances of Cloud Man at The Studio at the Festival Theatre. Now that relaxed performances are an established part of the Learning & Participation offer at our theatres, we are developing programmes and provision to support older people and people living with dementia, making our theatres and practices dementia-friendly and accessible for all.
LEARNING & PARTICIPATION
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SCHOOLS Dancequest gave young people from five local schools the opportunity to see the best in international dance, participate in professionally-led workshops and then develop their own pieces of dance which they performed at the Festival Theatre. Produced over three years and funded by the Prince’s Foundation for Children & the Arts, Dancequest culminated in a final gala performance
involving 397 young dancers with an audience of 1,403 family and friends – most of whom had not previously visited the Festival Theatre. Over the past 3 years, Dancequest has supported 162 dance workshops in 7 schools, working with over 700 children and young people and creating 55 new dance pieces. Our thanks to the education team at Scottish Ballet for their partnership in this project.
REHEARSAL FOR RAPUNZEL. PHOTO: GREG MACVEAN
COMMUNITY ENGAGEMENT We work with audiences of all ages, from toddlers to pensioners, to encourage people to visit our theatres, enjoy our programme and participate in our activities. In September 2014, we recruited children from the ages of 11 months to 14 years to be a local cast for balletLORENT’s Rapunzel. The children, most of whom had never performed on stage before, had a wonderful experience and contributed an integral part of a spectacular show.
DANCEQUEST PERFORMANCE 2015. PHOTO: ALY WIGHT
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SCHOOLS BACKSTAGE TOUR. PHOTO: PHIL WILKINSON
TOWERBANK PRIMARY. PHOTO: PHIL WILKINSON
THE VINTAGE CHORUS. PHOTO: PHIL WILKINSON
At the other end of the spectrum, in January 2015 we launched The Vintage Chorus, ‘a vocal ensemble for people with time on their hands and a song in their heart.’ We now have 25 mature singers meeting on a weekly basis, as a direct result of previous community work undertaken with Wee Stories theatre company and the Macrobert Arts Centre.
LEARNING & PARTICIPATION
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SUPPORTING EMERGING TALENT
BREAKDANCING IN THE STUDIO. PHOTO: GREG MACVEAN
We are proud to support performers at the start of their careers, providing the space for them to develop their practice and professional expertise to motivate and inspire. In this last year, one of the many projects we’ve supported includes working with BA Dance students at Edinburgh College. Students, who attended masterclasses run by world-renowned dance companies such as Grupo Corpo, Richard Alston, Matthew Bourne and Scottish Ballet, developed their own workshops for Edinburgh school pupils, who later attended the BA Dance alumni of 2015’s final degree show, Taking Flight. This is a great example of professionals inspiring young dancers to develop their own work, who in turn share this development with schools audiences.
THE CHIEF EXECUTIVE OF GLASGOW 2014 DAVID GREVEMBERG WITH EMMA FISCHER CRAWFORD AT THE PILRIG PARK ‘GOING FOR GOLD’ AWARDS, JUNE 2014. PHOTO PHIL WILKINSON
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EDINBURGH COLLEGE GRUPO CORPO MASTERCLASS. PHOTO: PHIL WILKINSON
A WORD FROM OUR CHAIR
PROFESSOR DAME JOAN K STRINGER CHAIR OF THE BOARD
The accounts show a consolidated operating surplus for the year, after transfers of unrestricted general funds, of £245,161. Although, as forecast, the period under review did not achieve the financial heights of what was an exceptional year in 2013/14, it is very pleasing to report that the deficit on unrestricted reserves that has persisted for five years has been eliminated and the new year begins with a surplus carried forward of £172,554. With box office strong and overhead well controlled, the Trust has produced a robust performance despite the continuing challenge of strong competition for disposable income and challenging economic conditions. The creation of significant general cash deposits, largely as a result of very positive advance sales, has been instrumental in allowing the Trust to trade on a positive and proactive basis in recent years, to the benefit of producers and suppliers as well as staff and audiences. The Theatres Development Fund also continues to grow and should become a significant contributor by the time that a King’s Theatre phase two refurbishment project begins a few years hence. The City of Edinburgh Council maintained their annual grant at £769,576 and have committed to doing so in 2015/16. Our submission to Creative Scotland in 2014, to become a Regularly Funded Organisation was successful, meaning that we have a confirmed grant of £105,000 per annum for the next three years to support a programme of drama and dance. Our Patrons, Friends and Donors were once again very generous in their support, including one gift of £100,000 to be used towards the redevelopment of the King’s Theatre. Our thanks to our Friends, our customers and all supporters.
PERFORMANCE SUMMARY 2015
Unrestricted Designated Restricted Total Total Funds 2015 Funds 2015 Funds 2015 Funds 2015 Funds 2014 £’000s £’000s £’000s £’000s £’000s INCOME Box office receipts Other theatre income Grants and donations
7,345 402 781 1,025
-
- 7,747 10,001 - 781 704
- 209 1,234 1,178
Friends, Patrons and Sponsorship
209
-
- 209 227
Commercial trading
957
-
- 957 1,003
Investment income
EXPENDITURE - total Transfers between funds
8 - - 8 16 10,325
(11,111) 1,031
402
(23)
209 10,936 13,129
- (11,134) (13,205)
(23) (1,008)
-
-
Defined benefit scheme actuarial loss - (69) - (69) (40) Net incoming (outgoing) resources for the year
245 287 (799) (267) (116)
Fund balances at 31 March 2015
172 1,256 2,751 4,179 4,445
Unrestricted Funds reflect the day-to-day trading activities of the Trust and its subsidiary, presenting shows and providing facilities to visiting producing companies and audiences. Designated Funds comprise the Theatres Development Fund (£1,621,000) less provision for a pension fund deficit (£365,000). The former continues to grow at a healthy rate and, as well as being utilised on a variety of projects in the coming year, will provide seed funding for a major refurbishment of the King’s Theatre for which an options appraisal is currently being considered. The latter is a long term liability with no immediate cash effect.
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Restricted Funds relate in large part to the original 1994 re-development of the Festival Theatre, and are depreciated over the term of the Trust’s lease. Additional amounts relate to the cinema installation, The Studio development at Potterrow, grants for the upgrading of broadband and wi-fi facilities, and restoration projects at the King’s Theatre. Full details of the Trust’s performance and the Independent Auditor’s Report are contained in the statutory accounts which are filed at Companies House or available on request from the Company Secretary.
SUPPORTERS
w We were delighted to receive Regularly Funded Organisation (RFO) status for the next 3 years from Creative Scotland enabling us to confidently plan our programme of work over that period. w We have been able to develop our work to overcome barriers to access thanks to donations from the Cruden Foundation, AEB Charitable Trust, Walter Scott & Partners Foundation, Radio Forth’s Cash for Kids and the Prince’s Foundation for Children & the Arts and an award of £320K over the next 3 years from the Life Changes Trust will enable us to make our theatres dementia friendly. w Our Friends programme continues to grow, up 14% on last year (a tenfold increase over the last 5 years). Friends and Group Bookers showed fantastic support for our programme of relaxed performances in response to our appeal for funding and donations are up 24% on last year with the number of donors up 130%. w Almost 650 people took part in development events last year including two glittering events on the stage of the Festival Theatre to celebrate our 20th Anniversary. w Our Patrons continue to offer vital support for our ongoing work and we were exceptionally grateful to receive a donation of £100K towards Phase 2 of the King’s Restoration Thank you to all of our supporters who keep our theatres thriving.
Chair Professor Dame Joan K Stringer Board of Directors Professor Dame Joan K Stringer Cllr Elaine Aitken Philip Bernays Karen Cairney Kate Gemmell Cllr Norma Austin Hart Gordon Jack Cllr Richard Lewis Helen Mackie Cllr Melanie Main Alasdair Peacock Colin Ross Chief Executive Duncan Hendry General Manager Brian Loudon Director of Finance and Company Secretary Iain Ross Commercial Director Nick Parr Technical Manager James D Clark Principal Funder City of Edinburgh Council Programme Supported by Creative Scotland Corporate Supporters Comcab Inverarity Morton Kempen Capital Management RBS Walter Scott & Partners Trusts & Foundations Life Changes Trust Radio Forth’s Cash for Kids Prince’s Foundation for Children & the Arts AEB Charitable Trust Cruden Foundation Walter Scott & Partners Foundation Administrative Address 13/29 Nicolson Street, Edinburgh EH8 9FT ADMINISTRATION: 0131 662 1112 BOX OFFICE: 0131 529 6000 email: enquiries@edtheatres.com
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Principal Patrons Sir Tom & Lady Farmer Mr Roger Miller Hedley G Wright 2 Anonymous Supporting Patrons Ewan & Christine Brown Richard & Catherine Burns Diana, Viscountess Younger of Leckie Sir Gerald & Lady Elliot Jo and Alison Elliot Kate & Gavin Gemmell Hamish & Alison Glen Malcolm & Avril Gourlay Fred & Ann Johnston Donald & Louise MacDonald Chris & Gill Masters Fiona & Ian Russell Alastair & Elizabeth Salvesen Barry & Helen Sealey Andrew Shepherd Jim & Isobel Stretton Sarah Whitely & Graham Whyte 8 Anonymous Patrons Geoffrey & Tish Alderson Veronica Bell The Cameron Family Dennis & Brenda Carmichael Dr Ann C Chandley Reverend and Mrs David Dalglish George Gwilt Shields & Carol Henderson Frank Hitchman John & Fiona Hutchinson James & Felicity Ivory Alan M Johnston Sir Raymond and Lady Johnstone Lesley Knox Christine & Stewart Mackay Lynda McGrath Kirsteen Millar Sir Ronald and Lady Miller Walter & Norma Nimmo Mr and Mrs I F Osborne Christine Richard OBE & Fiona Richard Bruce & Eileen Ritson David Rodgers Derek & Ann Shepherd Mrs Eileen Waddell Michael & Margaretha Walker Sir John & Lady Ward 4 Anonymous
A non-profit distributing company limited by guarantee and registered as a charity, SCO18605
We are incredibly lucky to have a strong base of support from individuals, trusts and businesses along with our principal funders City of Edinburgh Council and Creative Scotland. Ticket sales alone are not enough to cover our core costs or enable us to carry out the great learning & participation work outlined in this review.
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