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welcome to our world

Edinburgh Festival Fringe 2009 2–30 August www.universalartsfestival.com


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Welcome to the 2009 Universal Arts festival programme. Over the last twenty festivals, we have introduced literally thousands of artists from around the world to UK audiences. Some, now household names like Omid Djalili or Pip Utton, started their careers in our “jewel in the festival crown” (The Stage 2008) Hill Street Theatre. We have brought companies to Edinburgh from over 40 countries, making audiences laugh or cry but always providing a first rate theatre experience. In 2009, we are, once again, delighted to present a packed programme of high-quality entertainment from around the globe, a programme to cheer you up and encourage positive thinking in these uncertain times. Although this year we are not running Hill Street Theatre, we invite you to three different venues: New Town Theatre, possibly the most beautiful festival venue in town; Universal Arts @ St. Georges West, the building we share with the lively and exciting The World Festival; and the Edinburgh International Conference Centre probably the most comfortable venue in Edinburgh. From Venezuela we are bringing back an enhanced version of the 2005 five-star hit VENEZUELA VIVA – a story of music and dance from this colourful, vibrant country. From the USA come the unstoppable TAP KIDS with a tap dance equivalent of High School Musical. France sends four hilarious and magical shows without words headed by Total Theatre Award winners FIAT LUX. From Spain we present ALBADULAKE with their mind-blowing acrobatic flamenco circus. From Holland comes the amazing ULRIKE QUADE with her visually stunning Me Too puppet show for adults. From the UK we present a mini festival of five productions by the Master of the one-man show writer-performer PIP UTTON. We are also hosting a UK production of a new adaptation of Dostoyevsky’s Notes From Underground with Scottish BAFTA nominee Anna Kerth who also appears in Venezuela Viva. If choosing between our outstanding programme of 30 productions is difficult, the simple solution is to see them all! Tomek Borkowy and Universal Arts Team I3


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venue information

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(fringe venue 7) Freemasons’ Hall, 96 George Street Edinburgh EH2 3DH

@St Georges West (fringe venue 8) 58 Shandwick Place , Edinburgh EH2 4RT

(fringe venue 150) Edinburgh International Conference Centre, 150 Morrison Street Edinburgh EH3 8EE Tickets & Info:

0844 477 1000 www.universalartsfestival.com

Please also see page 30 of this programme. If you would like a large-type version of this brochure, please call 0131 478 0195

Parking There is metered parking on/adjacent to both George Street and Shandwick Place 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 All three venues are easily reached by public transport as many buses serve Lothian Road, Shandwick Place and George Street. Journey, day and weekly tickets available. www.lothianbuses.com.

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We are grateful to all our partners and supporters without whom we would be unable to produce the programme. Thanks to: Hill Street Masonic Society for a perfect working partnership over 20 years and especially Mr Hamish Morris and Messrs Paul and Ewan Rutherford; The Grand Lodge of Scotland and especially Mr David Begg and Mr Clark Wilson; Michelle MacLeod and colleagues at Ocean Terminal; Lindsay Wallace at the XOS Group; Spotlight; The Bongo Club; Stage Electrics and ETC Electrical Theatre Controls

Universal Arts Management Team Tomek Borkowy Artistic Director Laura Mackenzie Stuart Managing Director Rose Manley Operations Manager Anthony Newton Production and Technical Manager Chris Lord Communications Manager Trish McGuinness Press Manager Ryan Mattock Press and PR co-ordinator (placement from Queen Margaret University) Judith Proctor Promoters’ Centre Manager Keri Dolan Promoters’ Centre Manager Design: Emma Quinn. Brochure printed on paper from sustainable sources by Forward Graphics, Glasgow.


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My first 20 years as a Fringe Venue Producer – Here’s to the next 20! by Tomek Borkowy, Artistic Director In the Beginning My first encounter with the Edinburgh Festival Fringe took place in 1983. I brought my production of Michael Almaz’s ‘Dialogue With A Dying Man’ to the Little Lyceum (located on the site which later became the current Traverse Theatre). Although it was in the last week of the festival and at midnight, we had good reviews. Despite this, the Artaud Company, for whom I worked, lost a lot of money. But I had fallen in love with Edinburgh. However, it took me another seven years to return to this beautiful city and this crazy festival. In 1989 my former drama students formed a theatre company and invited me to be its Artistic Director. The initiator was the unstoppable organiser Grace Gedeon, supported by Thorston Manderlay and Paul Jackson Davis. I immediately decided that Ab Ovo Theatre Company would perform at the Edinburgh Festival Fringe. Grace, who in her ‘previous life’ had been a commercial lawyer, decided that it would be more economic to run our own venue and share it with other companies. In December 1989 we went to Edinburgh to find the right space. After seeing three or four options we decided that the best would be a beautiful Masonic Lodge in Hill Street, which had been used as a festival theatre since 1974. Our decision was made easy because of the hospitable approach by the then building convener of the Masonic Society, Mr Hamish Morris. His support over the years has developed into a friendship that I cherish, and to Mr Morris becoming Hill Street Theatre’s Box Office Manager for a couple of years. In 1990 Ab Ovo produced Michael Almaz’s adaptation of Dostoyevsky’s ‘Notes From Underground’ (with myself and Sophie Aldred, the last Dr. Who companion from the classic Dr. Who series) and the first British professional production of Jean Genet’s ‘Deathwatch’. We also presented 24 other productions in Hill Street Theatre including a play directed by Ken Campbell and ‘Tristram Shandy’, written and performed by the fantastic Stephen Oxley. Our first programme was published together with Celtic Lodge and the Playhouse Studio produced by Mark Goucher. By the way Mark, you still owe me £360 for this brochure, which, with compound interest, is roughly the value of dinner for ten in the most expensive restaurant in town. Please call me … Over the course of the last 19 festivals, Hill Street Theatre has hosted top British performers including Willy Rushton, Barry Cryer, Paul Merton, Caroline Quentin and Liz Lochhead. Within the venue, I have witnessed the start of the careers of Omid Djalili, Pip

Utton and many, many young artists. On Hill Street’s stages we have hosted companies who won numerous Fringe Firsts and other prestigious awards. Hill Street was also a breeding ground for producers, technicians, and front-of-house and technical managers. Over its history the venue has been run by industry whizzes such as Judith Doherty (now of Grid Iron fame) and Jennifer Gilmour, doyenne of Red Sky at Night. Past Technical Managers are now involved with most prestigious theatres around the country; Paul Claydon is the Head of Lighting at The National Theatre of Scotland and Christoph Wagner is the equivalent at The Soho Theatre in London. Former Front of House Manager Paul Baines is now Theatre Manager of The Stephen Joseph Theatre in Scarborough. I am very proud of my 19 years in this little venue with a big soul, which in 2008 was described by The Stage as “one of the Festival’s crown jewels”. Unfortunately and with great sorrow I have had to abandon this great Fringe theatre in my 20th festival but I'm delighted to be presenting productions for the first time at the EICC and at St George's West, in addition to our two comfortable spaces in our stunning New Town Theatre.

My gratitude I would like to thank the many fantastic people who have helped to run all of the venues that I have produced and programmed. Apart from Grace Gedeon who worked with me for three years and those mentioned above, I have to say my thankyous to Tim Hawkins with whom I formed Edinburgh Venue Associates and ran seven venues over four years. As well I want to say thank you to my longest serving Technical Manager Allan Gray. I also would like to thank my life-long friend (and often business partner) Edward Dargiewicz of the English Theatre Company of Poland who, for the last 15 years, has created in Hill Street one of the most atmospheric festival bars featuring ‘the best Bloody Mary in town’ (as heard said by numerous journalists, actors and producers). His daughter Martyna Dargiewicz literally grew up in Hill Street Theatre and was its Front of House Manager for the last three years. However my biggest thanks, from the depth of my heart, go to my fantastic business and life partner Laura Mackenzie Stuart, who is also celebrating her 20th festival. Laura served eight years as Deputy Director of the Fringe Society before becoming Managing Director of Universal Arts. And last but not least I would like to thank my current team: Rose Manley, Anthony Newton, Chris Lord and Trish McGuinness. Thank you guys – with you I would not be afraid to face another 20 festivals.

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spell #7 (Singapore)

daniel k

Tree Duet

Q&A

Eco-performance minus the moralising, Tree Duet is a wry meditation on our continuing entanglement with trees. Stories from colonial history and the modern Asian city are interwoven with simple effects and actions to create a delicate theatrical ecology of ideas and images. In the process, spell#7 invent some tree-lore for the 21st Century, and apply it to the vexed relationship between our all too human obsessions with nature, power and death.

For dance-maker daniel k, the spectator is not a body sitting in the dark, passive and anonymous. In Q&A, he slyly reverses the choreographic process by meeting face-to-face with his audience before making his performance. He asks his audience: what do you want to see? daniel k then bravely attempts the ‘perfect’ dance formed by the fate of economics and quirks of democracy. A Singapore Arts Festival 2009 commission

www.spell7.net

(Singapore)

www.mac.com/diskodanny

NEW TOWN THEATRE: MYSTERIOUS

NEW TOWN THEATRE: MYSTERIOUS

Dates 16 – 22 Aug

Dates 25 – 30 Aug

Times 11:30 (1 hour)

Times 11:30 (50 mins)

Prices Aug 16 & 17 £5 Aug 18–20 £10 (£8) Aug 21 & 22 £12 (£10)

Prices Aug 25 & 26 £5 Aug 27–30 £8 (£6)

Tree Duet and Q&A are part of the Singapore Showcase in Edinburgh 2009.

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UK premiere

Cía Albadulake (Spain)

Malaje the Flamenco circus From clowning and acrobatics to the purest flamenco with moments of poetry and stunning contemporary circus skills, this whirlwind of drama, dance, music and laughter ‘blows up conventions and rewrites the rules’ (El Periodico). Albadulake brings together six performers from different backgrounds to create a contemporary flamenco circus of spectacular juggling, passionate flamenco singing, acrobatics and clowning while feet hit the stage hard and handclaps fuse the whole with a unifying beat. ‘achieves the difficult marriage between beauty and entertainment’ L'Ouest de La France ‘fluidity, acrobatics, energy and imagination… blows up conventions and rewrites the rules’ El Periodico ‘spectacular’ Diario de Nocias www.albadulake.com NEW TOWN THEATRE: MAJESTIC Dates 5 – 30 Aug (not 17 Aug) Times 12 noon (1 hour)

Prices Preview Aug 5 & 6 £7.50 Aug 7, 10–14, 18–21, 24–28 £11(£9) (£35 family) Aug 8 & 9, 15 & 16, 22 & 23, 29 & 30 £12 (£10) (£39 family)

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Richard DeDomenici (UK)

Plane Food Café Chef Marcus Wareing recently declared that British pub food is now worse than airline food and that ‘if you want a decent bite to eat, you'd be better off getting on a plane’. Richard DeDomenici finds this a rather environmentally irresponsible thing to say and has created a far more exciting alternative: a pop-up restaurant/art installation selling genuine airline cuisine. In-flight meals taste differently on the ground – pressurised aircraft cabins deaden taste buds, low humidity hinders smell. Therefore plane food on the ground should theoretically taste spectacular. Find out for yourself at Plane Food Café! ‘Beautiful acts of absurdity’ The Guardian www.planefoodcafe.com Produced by Artsadmin, Supported by Escalator East To Edinburgh

NEW TOWN THEATRE: KITCHEN Dates 17 – 30 Aug Times 12:00, 12:40, 13:20, 14:00 (30 mins) Prices £6

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Richard DeDomenici (UK)

Plagiarismo! Plagiarism is passing off someone else's work as your own, yet appropriation is central to all art. Picasso himself said ‘Good artists copy, great artists steal’. Richard DeDomenici strives to untangle this seeming paradox in his important new show. Richard cites a rich and eclectic variety of case studies from the music, entertainment and art worlds, including his own disputes with News International and the BBC. Does nobody have any new ideas anymore? Has it all really been done before? Find out in Plagiarismo! ’DeDomenici is an excellent example of the best that live art has to offer' The Herald, 2008 ‘clever, tremendously funny, powerfully political … a satirist of the highest order’ Sunday Herald www.plagiarismo.com Supported by Escalator East To Edinburgh

NEW TOWN THEATRE: MINI Dates 5 – 30 Aug (not 16 Aug) Times 19:00 (1 hour) Prices Preview Aug 5 & 6 £5 Aug 7 – 15, 17 – 30 £10 (£8)


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Universal Arts present Pip Utton (UK)

Retrospective Pip Utton “the master of the controversial one man show” – The Guardian Some of the finest solo performances of the past decade. The reviews say it all: Resolution ‘can never be more than what it is, but what it is devastating and unforgettable.’The Guardian “If this doesn't win major prizes the major prizes are rigged.” Scotsgay Adolf ‘Terrifying, searing, transfixing’ The Scotsman, ‘A terrifying mimicry’ die Tageszeitung (Berlin) Hancock’s Last Half Hour ‘Uncannily accurate, my eyes filled with tears’ Mail on Sunday Bacon ‘Compelling and unsettling’ The Scotsman ‘a masterpiece.’ Scotsgay Chaplin ‘Pip Utton is the doyen of the fringe one man show’ The Daily Telegraph Top Twenty 2007 ‘I think Pip Utton is an alien, a protean creature which can turn into anything it desires! …the young pretenders (of whom there are many at every Fringe) should see his show (or shows) to learn how it should be done.’ Peter Lathan The British Theatre Guide NEW TOWN THEATRE: MYSTERIOUS Dates 24 – 30 Aug Chaplin: 24, 30 Bacon: 25, 29 Resolution: 26 Hancock’s Last Half Hour: 27 Adolf: 28 Times 13:00 (1 hour 10 mins)

Prices £12 (£10)

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UK premiere

Syntropica Productions (UK)

Cry from Underground (Tell Me Your Name)

UK premiere

Siege Perilous (Scotland)

King Arthur Written by Lucy Nordberg Directed by Andy Corelli

by Thorston Manderlay. Based on ‘Notes From Underground’ by F Dostoyevsky In this new adaptation of Dostoyevsky’s famous tale of alienation and misanthropy, the disillusioned and lonely man meets a woman who, having fled poverty in Russia, is trapped as a sex worker. The encounter could offer hope for a way out for both of them. The question is: does the man have the courage to allow it to happen? Starring Scottish BAFTA nominee Anna Kerth. Director Paul Jackson-Davies and Manderlay are former students of Universal Arts director Tomek Borkowy and made their fringe debuts in 1990 in Tomek’s Hill Street Theatre programme. This production is presented as a tribute to 20 years of Universal Arts at the Fringe. Not suitable for children under 16

Previous Fringe productions include Measure for Measure at Universal Arts Hill Street Theatre, which went on to tour nationally.

www.thorstonmanderlay.com

www.siegeperilous.co.uk

The King forces democracy on a reluctant population, triggering a crisis. Is he right to expect the ideals of Enlightenment to last forever? Who will win in the battle between reason and faith? Will secrets at the heart of government destroy his state? See the central problems of our time expressed in this legend reclaimed for today in a sharp production by Edinburgh's Siege Perilous. ‘outstanding, well-shaped performances, in a play that blazes with promise.’ **** Joyce McMillan, The Scotsman on Still/Signs of Life

NEW TOWN THEATRE: MYSTERIOUS NEW TOWN THEATRE: MYSTERIOUS

Dates 5 – 30 Aug (not 9,17, 24)

Dates 5 – 23 Aug (not 18)

Times 14:45 (1 hour 30 mins)

Times 13:00 (1 hour 15 mins)

Prices Preview Aug 5 & 6 £5 Aug 7, 10 – 14, 18 – 21, 25 – 28 £10 (£8) (£5 children)

Prices Preview Aug 5 & 6 £5 Aug 7, 10 – 14, 17, 19 – 21 £10 (£8) Aug 8 & 9, 15 & 16, 22 & 23 £11 (£9)

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Aug 8,15 & 16, 22 & 23, 29 & 30 £12 (£10) (£6 children)


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UK premiere

Ulrike Quade Company (Netherlands)

Me Too a sideshow Did you ever dream of never being alone, of always having someone at your side? The life of Siamese twins Daisy and Violet is one big Revue Act. Since childhood they have stood in the spotlights. They share a beating heart and their clairvoyant son, Arthur, who sees the future. In the sleazy setting of a cheap Revue with its exploitation of freaks and its raw backstage romanticism, the unbreakable duo lives on the borderline between dreams and reality. Ulrike Quade’s internationally renowned work blends dance, performance, puppetry and music to make truly atmospheric theatre. A puppet show sizzling with schizoid drama … an enormous variety of talent‘ ‘so brilliant that you totally forget it is all a matter of skin and foam rubber’ Volkskrant Not suitable for children under 16 www.ulrikequade.nl/SITE/en.html www.TheaterCentraal.nl NEW TOWN THEATRE: MAJESTIC Dates 5 – 30 Aug (not 17) Times 14:00 (1 hour 10 mins)

Prices Preview Aug 5 & 6 £7.50 Aug 7, 10 – 14, 18 – 21, 24 – 28 £11 (£9) Aug 8 & 9, 15 & 16, 22 & 23, 29 & 30 £12 (£10)

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UK premiere Xavier Mortimer (France)

The Shadow Orchestra A magic mime show for all ages, full of surprise and rich inventiveness. The curtain rises to a single musician on stage but then his shadow increases to form a whole brass band of shadows. Stunned by what is happening, the artiste is swept away by melting music, magic and illusion to a world of laughter, poetry and wonder in a small magic bubble. ‘the audience is plunged into a state close to childlike wonder’ FigaroScope ‘an unceasing amazement – the audience is carried away, dazzled by the character’s seeming candour and his mastery of the game’ Le Parisien ‘an utterly enchanting show’ Le Nouvel Observateur Gégoire Furrer /Productions Illimitees et Lard'enfer www.xaviermortimer.com NEW TOWN THEATRE: MAJESTIC Dates 5 – 30 Aug (not 17) Times 16:00 (1 hour 5 mins) Prices Preview Aug 5 & 6 £7.50 Aug 7, 10 – 14, 18 – 21, 24 – 28 £11 (£9) (£35 family) Aug 8 & 9, 15 & 16, 22 & 23, 29 & 30 £12 (£10) (£39 family)

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Primate Theatrical Percussion (Venezuela)

Pan Pa' Tim In the chaos of a great city, Tim, a percussionist, tries to earn ‘his daily bread’ as an office worker as his art does not pay his bills. But his musical instinct always betrays him. Everything he touches turns to music: dishwasher, water bottles, tables, typewriter and the bodies of the other six performers – keyboard player, percussionists, singers, dancers and jugglers.

Trestle in collaboration with Increpación Danza (UK/Spain)

Lola: The Life of Lola Montez Lola tells the true story of the infamous 19th century Spanish dancer who stormed her way through life on a tumultuous journey of seduction, sorrow and success. An actress and courtesan, a revolutionary and adventuress; she was the breaker of hearts and the toppler of a kingdom.

Composition and direction by Roberto Castillo

Fusing theatre, dance and live music from renowned flamenco guitarist Ricardo Garcia, this is 'a racy, pacey and inventive chamber-sized physical theatre production based on this extraordinary woman's life.' The Times

www.primatepercu.com

www.trestle.org.uk

NEW TOWN THEATRE: MYSTERIOUS

NEW TOWN THEATRE: MYSTERIOUS

Dates 5 – 30 Aug (not 18)

Dates 9 – 30 Aug (not 17, 24)

Times 16:45 (1 hour)

Times 18:45 (1 hour )

Prices Preview Aug 5 & 6 £5

Prices Preview Aug 9 & 10 £7

This Afro-Caribbean spectacular is ‘like a Latin American Stomp the whole family will enjoy’. El Universal

Aug 7, 10 – 14, 17, 19 – 21, 24 – 28 £10 (£8)

Aug 11 – 13,18 – 20, 25 – 27 £11 (£9)

Aug 8 & 9, 15 &16, 22 & 23, 29 & 30 £12 (£10)

Aug 14 – 16, 21 – 23, 28 – 30 £12 (£10)

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UK premiere New York Stage Originals (USA) & Universal Arts present

Tap Kids The international hit show is an all energy tap dancing equivalent to High School Musical. Eight phenomenal tap dancers tell the story of a group of teenagers during their last months at school as they come to terms with teenage love, their first big dance, graduation and pending adulthood. After Tap Dogs and Stomp, this latest tap dance sensation features an original score and dazzling choreography while their fast-clicking feet move with a joyous intensity that shakes up the floor – and the soul. ‘one of the dance world's hottest commodities’ Erie Times News 'Their talent is unmistakeable, their passion is fierce' Journal News www.tapkids.com NEW TOWN THEATRE: MAJESTIC Dates 5 – 30 Aug (not 17 Aug) Times 17.45 (1 hour)

Prices Preview Aug 5 & 6 £7.50 Aug 7, 10 – 14, 18 – 21, 24 – 28 £11 (£9) (£35 family) Aug 8 & 9, 15 & 16, 22 & 23, 29 & 30 £12 (£10) (£39 family)

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Fiat Lux (France) UK premiere

Fiat Lux (France)

Strike Seven travellers are waiting on a station platform – a Scotsman and his daughter, two old English ladies, a French businessman and two refugees. But a strike begins and their wait is longer than expected. Good manners slowly disintegrate and each one reveals a hidden face. This physical comedy about immigration delves into the heart of human relationships with the company’s trademark passion and humour. ‘the cruel story of everyday life slowly sliding into inhumanity … Brilliant!’ L’Eclaireur ‘shows how much you can protest without speaking a word … a finely-honed work’ Presse Océan ‘makes the whole audience laugh … and think,’ Le Télégramme

In repertory with Nouvelles Folies www.ciefiatlux.asso.fr

Nouvelles Folies On holiday in a remote Breton fishing village, a smart young city couple finds the fun-loving local trawlermen’s behaviour less than helpful. Everything goes haywire. With an exquisite and inventive set of three seaside beach huts, a soundscape of seagulls and breaking waves, Nouvelles Folies offers a fresh and hilarious take on cultural differences and gender games. Fiat Lux’s uproarious brand of slapstick has delighted audiences all over the world. Nouvelles Folies won a Total Theatre Award in 2002, which confirmed the company as masters of timing, facial expression, clowning, acrobatic theatre, dance and mime.

‘terrific discipline and energy as well as a tremendous source of comedy’ The Scotsman ‘a delight from start to finish, full of zany jokes, visual puns, little digs at human foibles and virtuoso miming’ The Stage ‘an hour of delirium’ Ouest France ‘tear-jerkingly funny …it would be absurd to miss it’ The Herald

In repertory with Strike www.ciefiatlux.asso.fr

NEW TOWN THEATRE: MAJESTIC

NEW TOWN THEATRE: MAJESTIC

Dates 5 – 30 Aug (selected days, see below)

Dates 6 – 29 Aug (selected days, see below)

Times 19:40 (1 hour)

Times 19:40 (1 hour)

Prices Preview Aug 5 £7.50 Aug 7, 15, 22, 28, 30 £13 (£11) (£39 family) Aug 9, 11, 13, 18, 20, 24, 26 £12 (£10) (£35 family)

Prices Preview Aug 6 £7.50 Aug 8, 14, 21, 29 £13 (£11) (£39 family) Aug 10, 12, 16, 19, 23, 25, 27 I 15 £12 (£10) (£35 family)


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Movin' Melvin Brown (USA)

Movin’ Melvin: Me, Ray Charles and Sammy Davis Jr. The genius of Ray Charles and Sammy Davis Jr. come together through Movin’ Melvin’s greatness. A ‘must-see’ show filled with Singing, Dancing, Tap, Comedy, Mime, Robotics … Melvin has shared the stage with such luminaries as BB King, Stevie Wonder, James Brown… performing jazz, Soul classics and original tunes, his vocal range is incredible. Oozing charisma, the incredible versatility, talent and sheer joy of Movin’ Melvin turn classic entertainment into an electrifying performance. A festival favourite in Adelaide, Avignon, Brighton, Edinburgh and New York. ‘fantastic! A definite must-see’ Rip It Up ‘extraordinary, sheer brilliance! Singing, Dancing, Tap, Comedy – Brown is a one-man Concert! *****‘ The Scotsman www.movinmelvin.com

Punk Rock Productions & The Real London Ensemble (UK)

Reality Chokes When Plod calls up his old mates for a reunion of their punk band, Sonic Generation, it’s obvious the proverbial’s gonna hit the fan. Rob and Dan haven’t spoken since their on stage punch up at a gig 20 odd years ago. What will happen when they all meet up again? Will their junkie drummer even make it? This darkly comic play about midlife crisis, features live music from the punk era. After last years successful London run, Al Gregg & David Schaal's hard hitting play, complete with three chord thrash music, storms the Edinburgh Festival. 'Authentic, touching and outlandishly funny. A fine and talented ensemble' Time Out www.thereallondonensemble.co.uk

NEW TOWN THEATRE: MYSTERIOUS

NEW TOWN THEATRE: MYSTERIOUS

Dates 5 – 30 Aug (not 17)

Dates 5 – 30 Aug

Times 20:15 (1 hour 30 mins)

Times 22:15 (1 hour 15 mins)

Prices Preview Aug 5 & 6 £7.50 Aug 7 & 8,14 & 15, 21 & 22, 28 –30 £13 (£12) Aug 9–13, 16, 18–20, 23–27 £12 (£11)

Prices Preview Aug 5 & 6 £5 Aug 7–9, 14–16, 21–23, 28–30 £11 (£8) Aug 10–13, 17–20, 24–27 £9 (£7)

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UK premiere

Patrice Thibaud and Philippe Leygnac (France)

Cocorico A funny Frenchman? Yeah right. A funny French mime? Don’t make me laugh. But virtuoso physical comedian Patrice Thibaud does. Until it hurts. In a hilarious and astonishing wordless duet with acrobatic pianist Philippe Leygnac, their utterly original and constantly evolving world of colourful characters and improbable situations explodes the boundaries of realism to touch poetic truths. Directors: Michèle Guigon, Suzy Firth and Patrice Thibaud ‘quite simply two huge talents!’ France 2 TV ‘sheer visual craziness!’ Le Figaro ‘a fireworks display of visual invention, laughter and poetry. What a joy!’ Pariscope Théâtre National de Chaillot, Grégoire Furrer/ Productions Illimitées, Théâtre de Vienne

NEW TOWN THEATRE: MAJESTIC Dates 5 – 30 Aug (not 17) Times 21:30 (1 hour 15 mins) Prices Preview Aug 5 & 6 £7.50 Aug 7 & 8, 14 & 15, 21 & 22, 28 – 30 £12 (£10) (£39 family) Aug 9 – 13, 16, 18 – 20, 23 – 27 £11 (£9) (£35 family)

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Ricardo Garcia's Flamenco Flow (Spain / UK)

Flamenco Jazz Late Night Late night Flamenco with a touch of jazz! An Edinburgh Fringe classic – sophisticated, mellow, a great way to end an evening's Fringe-ing! Internationally acclaimed guitarist, Ricardo Garcia, brings his unique blend of music and rhythm. Magic! Led by composer and flamenco guitarist, Ricardo Garcia, Flamenco Jazz Late is a unique collaboration between Scottish jazz musicians and Spanish flamenco artists. Energetic and contemporary, tradition collides with the twenty-first century in this “fringe treasure” (The Herald) Ricardo Garcia demonstrates an astounding mélange of authentic Flamenco music and dance from Spain - an unprecedented modern twist. ‘vibrant ... modern ... an absolute treat for any audience’ The List ‘thrillingly high standards’ Sunday Herald ‘masterful … awe-inspiring’ ***** Three Weeks Critics’ Choice: Vancouver, Toronto, Montreal, Brighton, Edinburgh, The Guardian, Sunday Herald Audience Choice Award – Vancouver International Fringe Festival, Winnipeg Fringe Festival www.FlamencoFlow.com NEW TOWN THEATRE: MAJESTIC Dates 6 – 30 Aug (not 11, 18, 25) Times 23:10 (1 hour)

Prices Preview Aug 6 & 7 £7.50 Aug 8–10, 12–17, 19 –24, 26 –30 £10 (£8.50)

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@St Georges West

Ragged Shoes Productions (UK)

Ritter, Dene, Voss Take two sisters. Add one brother freshly picked from a mental institution. Mix in suffocating family values. A pinch of Wittgenstein. Leave to simmer.

Contrary Company (Canada)

You Fancy Yourself Written and performed by Maja Ardal

Thomas Bernhard’s dark comedy is an intimate depiction of a family at war. With the angst of Beckett and absurdity of Ionesco Ritter, Dene, Voss charts the fine line between sanity and insanity, reality and fiction. Dinner is served. The games begin.

Elsa lands in 1950s Edinburgh armed with a vivid Icelandic imagination, and the hope that the Massacre of Glencoe is her key to fitting in. After sold-out tours and rave reviews in Canada, Maja brings this hilarious and poignant one-woman multi-character performance back to the city of her childhood.

‘a talented company … elegance, precision and humour…an enriching theatrical work’ The Scotsman

‘transforms harsh schoolyard life and childhood torment into a comedy juggernaut’ Mooney on Theatre

Supported by the Austrian Cultural Forum, London

Primarily for adults, children 8 and up welcome

www.raggedshoes.co.uk

Produced by Contrary Company www.contrarycompany.com

UNIVERSAL ARTS @ ST GEORGE’S WEST

UNIVERSAL ARTS @ ST GEORGE’S WEST

Dates 6 – 30 Aug (not 18)

Dates 6 – 30 Aug (not 10, 18, 24)

Times 14:50 (1 hour 20 mins)

Times 16:45 (1 hour 15 mins)

Prices Preview Aug 6 & 7 £5 Aug 8 & 9, 15 & 16, 22 & 23, 29 & 30 £11 (£9) Aug 10 – 14, 17, 19 – 21, 24 – 28 £10 (£8)

Prices Preview Aug 6 & 7 £5 Aug 8 & 9, 15 & 16, 22 & 23, 29 & 30 £11 (£9) Aug 11–14, 17, 19–21, 25–28 £10 (£8)

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@St Georges West

Rick Lau (Hong Kong)

My Queer Valentine European premiere EndTimes Productions and Colter Merrick Productions (UK/USA)

Knuckleball by William Whitehurst Starring Judy Merrick and Malcolm Madera Directed by Russell Dobular When Ross, a self-described ‘regular guy’, proposes to Trish, she reveals secrets about her exotic past that will force him to rethink every assumption he has ever had about the nature and meaning of love—and baseball.

Musical Direction and accompaniment by Warren Wills, Directed by Tony Taylor An Army shower stall in Fire Island and lesbian seagulls on Noah's Ark? Hong Kong born Rick Lau recently covered the lead role of Engineer in the Australian national tour of Miss Saigon. In this Edinburgh debut, Rick takes you on a roller-coaster cabaret journey to find his rainbow utopia. A huge hit in Hong Kong where it’s wowed audiences with his mixture of comedy, pathos and music, My Queer Valentine is a musical celebration of, and homage to, the lives of the misfits.

‘the best dramatic work I've seen at any Fringe’ San Francisco Bay Guardian

The love that dare not speak its name is now the love that can’t shut up! From Cole Porter's lyrics full of homosexual innuendo to Lorenz Hart's autobiographically anguished lyrics, to Jerry Herman's bright optimism, Stephen Sondheim's wry irony, Kander & Ebb's dark world and George Michael's and Rufus Wainwright's modern sensibility, My Queer Valentine shines a spotlight on those who skirt away from the mainstream in the often complex and dubious areas of sexuality and the personal stories that define their lives.

‘sharply calibrated, strongly felt roller-coaster ride through lust attempting to evolve into love’ San Francisco Chronicle

‘A one-man tour de force… Lau's haunting vocals and razor-sharp wit had the audience stomping for more" The Australian

Sexual content: not suitable for under 16s

‘Lau's song choice is brilliant… intimate, engaging cabaret at its best’ AziaCity.com

Winner best new drama and best production at San Francisco International Fringe Festival 2008. ‘superb … entirely human and terrifically compelling’ NYTheatre.com

www.endtimesproductions.org UNIVERSAL ARTS @ ST GEORGE’S WEST

www.ricklau.com

Dates 6 – 30 Aug (not 18)

UNIVERSAL ARTS @ ST GEORGE’S WEST

Times 18:25 (1 hour 5 mins)

Dates 6 – 30 (not 18)

Prices Preview Aug 6 & 7 £5

Times 20.00 (1 hour )

Aug 8, 14 & 15, 21 & 22, 28 & 29 £11 (£9) Aug 9 –13, 16 & 17, 19 & 20, 23–27, 30 £10 (£8)

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Bizarre-productions with Alexandra Bowa and Nick Hudson (UK)

Bal Masque

an interactive Victorian Cabaret The Dutch award-winning soprano Alexandra Bowa (AKA Sam Chara) will take you on a journey through time and space with her own made costumes and music. Her multi-lingual European background and her beautiful voice will touch the deepest parts of your soul. Singer/song-writer Nick Hudson is compere and accompanist. Other Bizarre-people will show their masques and unravel them for you to see their true nature. Dress up if you like!

@St Georges West

Jokat (UK)

The Sorry People by Paul Eccentric A bleak comedy. We live in a monochrome world of moral absolutes: of good and bad, right and wrong, angel and demon. These are the people who live within the cracks. What is wrong and what is right? And are our lives that black and white? Can friendship be thus quantified? Are choices ever cut and dried? Are motives easy to define? Is guilt that simple to divine? Is freedom just a slackened noose? And are best intentions... Fair excuse?

‘Spell bounding!’ The Argus UNIVERSAL ARTS @ ST GEORGE’S WEST

UNIVERSAL ARTS @ ST GEORGE’S WEST

Dates 6 – 17 Aug

Dates 18 – 29 Aug

Times 21:30 (1 hour 20 mins)

Times 21:30 (1 hour 20 mins)

Prices Preview Aug 6 & 7 £7.50 Aug 8, 14 & 15 £12 (£10) Aug 9 – 13, 16 & 17 £11 (£9)

Prices Preview Aug 18 & 19 £5 Aug 20, 23 – 27 £10 (£9) Aug 21 & 22, 28 & 29 £11 (£10)

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Las Lizarraga (Venezuela)

Venezuela Viva The stunning five-star sold out Fringe 2005 hit returns after its world tour with an even more visually enhanced version with new scenes telling the story of Venezuelan culture. A feast for the senses with the music, dance and traditions of their country celebrated in a joyous spectacular of salsa and flamenco with brilliant live band and twelve ‘better looking than J-Lo’ (The Herald) dancers. ‘much sexier than Riverdance’ The Herald ‘if only all history lessons were this interesting’ The List ‘it’s one big party’ The Guardian ‘you just want to jump on the next plane to Venezuela’ The Independent ‘a cosmic force’ Miami Herald ‘***** magnificent’ The Scotsman www.venezuelaviva.com VENUE 150 @ EICC– THE AUDITORIUM Dates 2 – 23 Aug (not 10, 17) Times 17:20 (1 hour 20 mins)

Prices Preview Aug 2 & 3 £7.50 Aug 4 – 6, 11–13, 18–20 £12 (£10) Aug 7–9, 14–16, 21–23 £14 (£12)

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>www.universalartsfestival.com >0844 477 1000 Photo: Rafal Lipski

UK premiere Sambor Dudzinski (Poland)

The Time(less) Machine The Time(less) Machine is a pre-WW2 horse-drawn field rake transformed into a music machine. It consists of numerous instruments from around the world, from a piano to a didgeridoo. Dudzinski uses it to combine rich and diverse improvisations with his own musical compositions and the words of Polish poets, including Tuwim, Brzechwa and Białoszewski. Dudzinski is one of Poland’s leading artists. An actor, poet, musician, composer and self-styled ‘Art Warrior’ likened by critics to Jamiroquai, Prince and Bobby McFerrin. He has made work for theatre, TV, music festivals and international EXPOs. He seeks to surprise audiences with wondrous and exciting possibiliites and then get them involved in the fun. Past concerts have included 40,000 ringing alarm clocks and the public of Wroclow’s Old Market Square and spectacular shows across Europe, Asia and the USA. www.sambordudzinski.pl www.myspace.com/sambordudzinski VENUE 150 @ EICC – THE LOMOND Dates 6 – 23 Aug (not 10, 17)

ACOUSTIC MUSIC CENTRE @ ST BRIDE’S 10 ORWELL TERRACE, 0131 346 1405

Times 19:00 (1 hour)

Dates 25 – 30 Aug

Prices Preview Aug 6 & 7 £7.50 Aug 8, 14 & 15, 21–23 £11 (£9) Aug 9, 11–13, 16, 18–20 £9 (£7)

Times 17:45 (1 hour)

Prices Aug 25–27 £9 (£7) Aug 28–30 £11 (£9)

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>Venue 150@EICC

Exhibition

Steve Godfrey Inspired by seeing the colour, energy and beauty of Venezuela Viva when it first came to Edinburgh in 2005, artist Steve Godfrey began developing a series of stunning images capturing the true ‘duende’ of flamenco. Now living in Spain, Steve has access to an unending source of material from children learning their first steps to the awe-inspiring, finger-snapping power of the family matriarch at a wedding. Since that first fortuitous meeting with the Venezuela Viva company he has completed a range of paintings specifically relating to the show and undertaken portrait commissions for individual performers. This is Steve’s second exhibition in Edinburgh and represents a small selection of his work. All pieces are available for sale from the exhibition. Steve also takes commissions for portraits. More examples of his work can be seen on www.focaleye.com

VENUE 150 @ EICC Dates 2 – 23 Aug Times 11am – 9pm

Entry FREE

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An open letter to the Board of Directors of The Edinburgh Fringe Society From Tomek Borkowy, Artistic Director, Universal Arts Ltd., Edinburgh First of all I would like to start by saying thank you to all past and present staff of the Fringe Office including the new Chief Executive, Kath Mainland, who returns to the Fringe Office after 13 years. All of them have been doing their best to help Venue Producers to carry out their difficult and financially risky work. My special thanks go to Eileen O’Reilly who has done a fantastic job as Promoters’ Liaison connecting a number of our clients to significant international producers. Secondly, I would like to remind members of the Board of Directors of the position that the Fringe Society has had in the past and its present responsibilities. Circumstances over the past years have given many of us cause for concern – in particular, a lack of leadership in providing guidance to Fringe Office staff, a lack of openness and sincerity in dealing with other Fringe Festival stakeholders and total misjudgement of the time frame needed to introduce a new box office system and the mismanagement of its implementation, culminating in last year’s Box Office disaster. This has led to a significant drop of confidence in the Edinburgh Festival Fringe amongst participants and the ticket buying public, especially after an independent review held the Board of Directors responsible. This has resulted in enormous hardship and fear of losing business among many professional Independent Venue Producers. It has also revealed a total lack of accountability by the Board and, following last year’s crisis and subsequent damning report in which the Board of Directors of Edinburgh Fringe Society’s were criticised for the poor response to public concerns and the failure to attempt to boost falling confidence in the Festival. Bad press exacerbated this. I believe it is time to instigate a wide public discussion of the role of the Society and of all other stakeholders in the Edinburgh Festival Fringe. Historical Perspective The Edinburgh Festival Fringe has undergone a number of changes from its spontaneous formation in 1947. One of the first major steps was the creation of The Festival Fringe Society formally constituted in 1958. Its core aims were giving information, publishing a brochure of all Fringe shows and selling tickets centrally. In other words it served performing artists, who needed support as they not only performed but also created and ran their own venues and sold their own tickets. For this purpose the Fringe Society created the Fringe Office and for nearly 20 years it was the perfect solution for the type of arts festival that the Edinburgh Fringe then was. However with the creation of Assembly Theatre, the first managed multi-stage venue in 1981, this status quo began to change. Since this date, the Edinburgh Festival Fringe has been undergoing constant change. Beginning 28 years ago, participating artists gained support from managed venues. This support has grown with the professional

development of Venue Producers and has become the performing artists’ most important relationship. Obviously not all venues are on the same level of development and not all participants of the festival are in need of professional support but generally Venues are the main service and support providers to the participating artists. Like it or not, managed multi-stage venues started the commercial concept of the Fringe and led to a great expansion of the programme. This is when it became known as the greatest performing arts event on Earth. But, at the same time, the Fringe started changing its character. From a spontaneous celebration of the arts, it has evolved into a largely market-led presentation of the performing arts. Venue Producers had to embrace this change or get out of the festival. At the same time many other stakeholders welcomed a more market-orientated Fringe, as it started to generate more money for the economy of the City and the region. Landlords of spaces hired by Venue Producers, owners of accommodation rented during the Festival to participants and visitors, restaurateurs, hoteliers, shopkeepers and The Fringe Society itself started to benefit from an increasingly commercialised Fringe. In my twenty years of service in the Festival, the Fringe Office’s permanent staff has tripled, while most Venue Producers struggle to afford enough staff to cover their workload. The Fringe Society has also built a successful commercial company as its subsidiary. All of this is relies on the work and financial risks taken by Independent Venue Producers. I stress that without us the Festival would not be able to exist. The current safety and employment regulations, together with the cost of creating and running venues, prevent the Fringe from going back to a time when participating companies could run their own temporary theatres. We are faced with rising rents for spaces used by venues, higher costs of equipping venues and constant demands from the public and participating companies for better and more comfortable theatres as well as a raft of new safety regulations from Edinburgh City Council including the demand for costly professional reports and a rise of 650% (yes, six hundred and fifty percent) over three years in the cost of temporary theatre licenses. It has all contributed to steadily growing financial risk and administrative responsibilities to create temporary venues. Undoubtedly, and especially in the current economic climate, the danger of a spectacular financial collapse by one of us is just around the corner.

Financial make-up and the structure of the Fringe One of the main problems that has led to a lot of misunderstanding and problems is that not many people know how Edinburgh Festival Fringe has evolved in the last quarter of the century and how it really works at the moment. What is significant is that the Board of Directors of the Fringe Society did not try to understand or disregarded this knowledge for years.

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An open letter to the Board of Directors of The Edinburgh Fringe Society From Tomek Borkowy, Artistic Director, Universal Arts Ltd., Edinburgh

There are a number of stakeholders in the Fringe. I have recognised seven distinct groups: Participating Companies, Independent Venue Producers, Ticket Buying Public, Fringe Society, Edinburgh Businesses, Edinburgh Landlords, City Authorities and the Scottish Government.

The first three are investors in the Festival Fringe, thanks to them it exists while the remaining four are beneficiaries. The first group of investors are Participating Companies, who bring their art to Edinburgh and pay for the privilege. The second are Venue Producers, who create theatres used by performers, help them with technical (and often artistic matters) and generally look after performers’ well-being during the festival. Venue Producers provide the main Festival infrastructure and are often also involved in producing shows. The largest group of investors is the public, who buy tickets and allow all of this machinery to move forward. I stress this once again with emphasis: these first three groups are the only reason the Edinburgh Festival Fringe exists. Thanks to them the City and the region’s economy is injected with about £80m every year and as a result of this investment the Fringe Society continues to exist. It is worth highlighting that this large injection to the economy is delivered without meaningful support from governmental or civic authorities but with ever-greater risks undertaken annually by the first two investors. Other beneficiaries (including certain City Council members and civil servants) would do well to remember this every time they make a decision without thinking through the consequences of decisions that threaten to damage the venues’ operations for example: the threat to allow fencing to run the length of Princes Street dividing the City in two, making pedestrian flow between the New Town and the Old Town extremely difficult. Professional Venue Producers provide a service to the performing companies and the public. We create and invest in businesses that should generate returns. The Universal Arts (Festival) Ltd operation is typical of a small professional Independent Venue Producers. Like most, we are a self-financing organisation and, because of our size, we have difficulty attracting sponsors. As a result, the risk of running two venues with four stages and a total capacity of 732 seats is about £250K per year (generally the cost per seat is between £290 and £350 for venues with between 500 and 1000 seats.) This is the actual cost of 10 months of work programming, running and closing operations, theatre rental, equipment hire, publicity and administrative, technical and front of house staff. In order to break even (and thus to remain a viable business) we need a proper infrastructure and a well organised business environment in which to operate. Venue Producers are left to take risks without any economic or infrastructure support from local and national authorities. I would like to make absolutely clear, that although financial support would be welcome, Independent Venue Producers are actually seeking promotional, regulatory and infrastructural support across the entire Festival,

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which would allow us to carry on and to ensure that the Edinburgh Festival Fringe continues to be seen as the premier Fringe festival in the world. Independent Venue Producers, the Fringe Society and Authorities We all have to keep in mind that the contemporary Edinburgh Festival Fringe has changed from a spontaneous celebration of the arts to a largely market-led, performing arts trade fair and has to be treated as such. The time has come to change the way in which the Edinburgh Fringe is perceived and run, not only because of its ever-evolving nature but also because of the global economic environment in which we operate. However I am afraid that the enormous complacency shown by the City and national authorities combined with inept Board management of the Fringe Society has put the whole Fringe in grave danger of mirroring the thinking of the creators and governors of the banking system, whose idiocy has led to the collapse of the global economy. It is symptomatic that Independent Venue Producers were not included in the creation of ‘Festivals Edinburgh’. If the Fringe Society, City authorities and Scottish Government don’t take Venue Producers more seriously, if they continue to deny our indispensable role, we are in great danger of losing this magnificent Festival and its significant financial injection to the economy. Having put together what I feel to be a very strong programme this year, it is clear to me that there has been a loss of confidence in the Fringe from a lot of theatre companies in the UK and abroad. The lack of decisive and positive action from the Edinburgh Festival Fringe Society and the City, combined with the global recession has made many small and medium companies think twice about performing in Edinburgh. Where do we go from here? In my 20 years at the Fringe I have seen, heard and experienced a great deal of antagonism from members of the Board of Directors and some Fringe Office management towards Venue Producers. There has been a common view that we are all more or less dodgy business operators who make vast amounts of money. All too frequently this notion has been communicated to participating companies and the general public. This is the first issue that needs to be addressed. The second is to determine the real purpose of the Fringe Society in the 21st century and what kind of relationship should exist between the Society and Venue Producers. Failure to resolve this could drive the Associated Independent Venue Producers CIC whose membership accounts for all Edinburgh’s professional Venue Producers, to investigate the possibility and value in creating a separate organisation to provide essential services required by Participating Companies and audiences. This could either lead to the demise of the Fringe Society or to the creation of two separate festivals – one run by professional Venue Producers and a second by the Fringe Society.


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Nevertheless I strongly believe in the value of refashioning the Fringe Society in order to preserve and develop the Edinburgh Festival Fringe. It is only by working together that we can ensure Edinburgh continues to be seen internationally as the premier UK arts festival. To do so, we need to find a new formula in which the Venue Producers, Fringe Society, the City authorities and Scottish Government can work more effectively together and fulfil their different duties.

The Edinburgh Festival Fringe is a significant business creating jobs and injecting £80m a year to the economy. It has to be treated by the City and national authorities as any other significant industry. The Made in Scotland Fund is a very small but positive step in the right direction. The Society has to identify its contemporary role. In the last 15 years or so, the Fringe Society’s main objective has been its own growth. Its sponsorship deals and grants have benefited mainly the Society’s own structure with very little passed on to key stakeholders. Saying that, I have to admit that the Fringe Office staff did fantastic work, which was vital to the Festival on a number of issues including the fight to retain its ‘Work Permit-free status’ and visa conditions for companies from outwith the EU and the relationship with the Performing Rights Society. By publishing a combined festival programme, the Fringe Society has a contractual relationship with performing companies, but does not have any equivalent relationship with Venue Producers. Given that substantial sums of money are trusted to the Fringe Box Office by Venue Producers, this situation is wrong. There is an absolute and urgent need for a formalised relationship between Venue Producers and the Fringe Society to prevent bad practice and misunderstandings. For example the Fringe Society runs a ‘Friends of the Fringe’ scheme. It collects funds from subscribers to whom it provides benefits including discounted tickets, yet this discount is effectively loss of revenue to performers and venues. Also, for many years, venues have been asked to display boards with their venue number (not their name) and a Fringe Society sponsor’s logo. None of that sponsorship income is passed on to participating companies or Venue Producers and yet the sponsorship would have little or no value without their collaboration. The Fringe Society has to go back to its origins and become again a charitable organisation providing services to investors in Edinburgh Festival Fringe. The Fringe Society also needs to stop behaving like a secret society, hiding its ideas and working practices behind closed boardroom doors. In order to survive and develop in a positive way the Society has to work in close collaboration with Venue Producers and its representative body Associated Independent Venue Producers CIC (AIVP). The Society cannot behave as business chasing growth and profit. Nor should the Fringe Office allow itself to be a cheap way for the City Council to fulfil its community aims by providing a questionable quick ‘fringe experience’ for citizens via events such as Fringe Sunday. To achieve a new, vibrant and forward thinking organisation, a number of changes have to be made in the structure and working practice of the Society: • Obtaining membership of the Society should be simplified and encouraged • Society’s work has to be made public • The Board of Directors should be reduced to a maximum of 12 members including the chairperson

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Members of the Board should not have more than two consecutive periods on the Board • All existing Board members with more than 4 years on the Board should resign at the next AGM and, if they wish to, stand for re-election • A minimum of 30% of the board should be recruited from Venue Producers • The Chair of AIVP should be an ex-officio member of the board • The Board of Directors should adopt an American volunteer arts board style of ‘give or get’ structure where members undertake to either provide a professional (or significant) service or raise finance for the organisation. Other changes need to be made with regard to the Fringe Office, its work and employees. I hope that with the new management including Tim Hawkins, and especially with Kath Mainland at the helm, both of whom have long-term experience of the Fringe from both a Fringe Office and venue perspective, there will be an improvement to the quality of staff knowledge and services. An emphasis should be put on the development of marketing the Edinburgh Festival Fringe in the UK and around the world to a standard and level that the biggest theatre event on earth deserves. There is also an urgent need to improve the website. In conclusion and to stress the importance of the Edinburgh Festival Fringe for the City and for Scotland, I declare that Universal Arts will organise an open discussion about the future of Edinburgh Festival Fringe with an invited panel comprising of a member of the Board of Directors of the Fringe Society, Independent Venue Producers, an MSP and representatives of Edinburgh City Council responsible for culture. I also declare that at the next AGM of the Fringe Society I will put myself up for election to the Board of Directors. I hope that all Society members who agree with all or parts of my comments will vote for me. We need change! Tomek Borkowy, Artistic Director Universal Arts Ltd. Universal Arts Festival Ltd.

What’s the Fringe worth? Whether you are a participant (performer or ticket buyer), a cultural authority (local government, national government, international governmental agency), a local business (shop, restaurant, hotel, technical supplies) or simply interested Edinburgh city life, this is your opportunity to debate some of the issues contained in Tomek Borkowy’s open letter. The debate will provide an opportunity to discuss the value of the Fringe to Edinburgh, both in economic and prestige terms and what price, if any, should be placed on keeping it going and developing it for the future. The debate in the style of “Question Time” with a panel of speakers will put forward widely varying ideas for the Fringe in the 21st century. Whether you agree or disagree with one or many of Tomek’s points, it’s important to be part of the debate. Free event Date/time to be confirmed. Phone 0131 220 0143 (after 1 Aug) or visit www.universalartsfestival.com for details.

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Tickets and Information:

0844 477 1000 www.universalartsfestival.com

Tickets are also available from www.edfringe.com and directly from the venues: New Town Theatre – from Aug 5 (Fringe venue 7) Freemasons’ Hall, 96 George Street, EH2 3DH George Street is the summit of the New Town and the theatre is located in the block between Frederick Street and Castle Street. Universal Arts @ St George’s West – from Aug 6 (Fringe venue 8) 58 Shandwick Place, EH2 4RT Shandwick Place joins Princes Street from the west and the theatre is located on the corner of Stafford Street Venue 150 @ EICC – from Aug 2 Edinburgh International Conference Centre – 150 Morrison Street, Edinburgh, EH3 8EE The EICC is on Morrison Street, 5 minutes from Filmhouse on Lothian Road.

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Family Tickets are available for the following shows: Malaje – the Flamenco Circus, The Shadow Orchestra, Cocorico, Strike, Nouvelles Folies and Tap Kids. A family ticket covers entry for four people with a maximum of 2 adults. For information please call 0844 477 1000. Access: We apologise for not having level access to the New Town Theatre. Access is via 8 steps up from the pavement, thereafter on the level to the Majestic space and Mini space. Access to the Kitchen space and Mysterious space from within the building is down 18 steps and on the level thereafter. Access to Universal Arts @ St George’s West is via steps at the front of the building but there is a ramp to the side of the building for wheelchair users. Once in the building, a lift is available to the Universal Arts space. Venue 150 @ EICC is fully accessible to all patrons. Our staff are willing to help patrons with mobility difficulties. If you have particular requirements and would like to arrange assistance in advance, please call New Town Theatre: 0131 220 0143 (August) Universal Arts @ St Georges West: 07761 716929, EICC: 0131 300 3000 or our admin office: 0131 478 0195.

New Town Theatre

Universal Arts @ St George's West

Venue 150 @ EICC

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Cía Albadulake

Richard DeDomenici

Syntropica

Pip Utton

Ulrike Quade Company

Siege Perilous

Ragged Shoes Productions

Xavier Mortimer

Primate

Contrary Company

Las Lizarraga

NY Stage Originals

End Times/Colter Merrick

Trestle & Increpaciòn Danza

Richard DeDomenici

Sambor Dudzinski

Fiat Lux

Fiat Lux

Rick Lau

Movin' Melvin Brown

Patrice Thibaud & Philippe Leygnac New Town Theatre

Bizzare

Jokat

The Real London Ensemble

Ricardo Garcia's Flamenco Flow

Malaje

Plane Food Café

Cry from Underground

Pip Utton Retrospective

Me Too

King Arthur

Ritter, Dene, Voss

Shadow Orchestra

Pan Pa'Tim

You Fancy Yourself

Venezuela Viva

Tap Kids

Knuckleball

Lola

Plagairismo!

The Time(less) Machine

Strike

Nouvelles Folies

My Queer Valentine

Me Ray Charles & Sammy Davis Jr

Cocorico

Bal Masque

The Sorry People

Reality Chokes

Flamenco Jazz Late Night

New Town Theatre

New Town Theatre

New Town Theatre

St George's West

St George's West

New Town Theatre

St George's West

New Town Theatre

New Town Theatre

Venue 150 @ EICC Acoustic Music Centre

New Town Theatre

New Town Theatre

23:10

22:15

21:30

21:30

21:30

20:15

20:00

19:40

19:40

19:00 17:45

19:00

18:45

18:25

17:45

17:20

00:10

23:30

22:50

22:50

22:45

21:45

21:00

20:40

20:40

20:00 18:45

20:00

19:45

19:30

18:45

18:40

18:00

17:45

17:05

16:10

16:15

15:10

14:10

14:15

10, 17

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17, 24

18

17

10, 17

10,18, 24

18

17

18

9,17, 24

17

18

6-30 Aug

5-30 Aug

18-29 Aug

6-17 Aug

5-30 Aug

5-30 Aug

6-30 Aug

11, 18, 25

17

17

18

6-29 Aug (in rep) 17

5-30 Aug (in rep) 17

6-23 Aug 25-30 Aug

5-30 Aug

9-30 Aug

6-30 Aug

5-30 Aug

2-23 Aug

6-30 Aug

5-30 Aug

5-30 Aug

6-30 Aug

5-30 Aug

5-30 Aug

24-30 Aug

5-23 Aug

17

no perf

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16

21

21

18

16

20

15

15

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8

13

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14

22

19

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10

11

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New Town Theatre

Venue 150 @ EICC

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16:45

16:00

14:50

14:45

14:00

13:00

13:00

17-30 Aug

5-30 Aug

25-30 Aug

16-22 Aug

dates

28/5/09

St George's West

New Town Theatre

New Town Theatre

St George's West

13:00

12:20

12:30

ends

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New Town Theatre

New Town Theatre

New Town Theatre

New Town Theatre

New Town Theatre

New Town Theatre

Spell #7

Daniel K

Q and A

venue

Tree Duet

company name

show title

timetable

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New Town Theatre Universal Arts @ St George’s West Venue 150 @ EICC

www.universalartsfestival.com 0844 477 1000

2009 Brochure  
2009 Brochure  

2009 Universal Arts Brochure

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