
John Swinney issues 'freedom of speech' warning at Festival
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The First Minister, who praised the 'glorious diversity' of Scotland in his speech at The Hub venue, stressed the importance of performers having the ability to 'challenge us, to ask us tough questions, and to force us to look at things from different perspectives.'
He added: 'Culture that helps us to understand ourselves, to understand each other and to understand the world around about us.'
Mr Swinney, who said he wanted to ensure Scotland was a country of 'robust debate and inquiry,' later launched a new defence of Edinburgh-based investment firm Baillie Gifford, one of the key corporate backers of both the EIF and the Fringe.
Pro-Palestine campaigners have called for the both events to sever their links with the firm, which is said to have more than £60m worth of investments in a defence giant which has worked with state-owned arms companies in Israel.
In his speech, Mr Swinney admitted global conflict was 'redrawing the world order', and said years of economic stagnation and austerity in the UK had left people disillusioned and alienated, and expression concern at how new technology had left people 'much more exposed to disinformation and harmful material.'
He added: 'I want to ensure that Scotland's culture sector continues to bring people together for many generations to come.
'I know that, just like the government, this sector has faced significant and prolonged financial pressures.
'You've been squeezed by rising costs, by new restrictions on the freedom of movement in Europe, by job losses during the pandemic and too many other challenges to mention.
I know also that freedom of expression is under greater and greater attack, both at home and around the world.
'I want to ensure that Scotland – the birthplace of the enlightenment – remains a country of robust debate and inquiry.
'I firmly believe that art and culture must be able to challenge us, to ask us tough questions, and to force us to look at things from different perspectives.
'And yes, it must at times be allowed to shock and to offend us. It can also heal us.
So let me be absolutely clear – as First Minister I will always protect freedom of speech in our country.
'It is not the First Minister's job to tell you what to create – nor would I ever seek to do so.'
Mr Swinney was later asked about controversy over the cancellation of Fringe shows by Jewish performers Rachel Creeger and Philip Simon, and the renewed calls for Baillie Gifford to be dropped by festivals.
He said: "What I make a pitch for is an atmosphere of tolerance and respect for other people's opinions. If we all have respect for each other's opinions then we will be able to enable everyone to express their opinions.
"I believe in freedom of speech and that we should be tolerant of others.
"I feel our society is healthier where we have an expression of views respectively and courteously, so all of us are able to do so on all subjects, but particularly on the issues of the greatest sensitivity.
"I want there to be freedom of expression and I want people to be able to air their views.
"Some of the ability to do that and the creation of opportunities to do so comes through the sponsorship that is offered by organisations like Baillie Gifford.
"My view hasn't changed from what I said before. I think Baillie Gifford has an important contribution to make as one organisation to the offer of philanthropic support for the arts."
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The Independent
40 minutes ago
- The Independent
Labour does not deserve to win next election if it does not deliver change, says Reeves
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The Independent
40 minutes ago
- The Independent
I won a game show, but even that wasn't enough to cover performing at the Edinburgh Fringe
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Scotsman
40 minutes ago
- Scotsman
Edinburgh Fringe Theatre reviews: Down to Chance Escape the Noise Anatomy of Pain + more
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Down to Chance Pleasance Courtyard (Venue 33) ★★★★☆ On Good Friday 1964, Alaska was hit by a 9.2 magnitude earthquake. The Great Earthquake took out all communications in and around Anchorage apart from the local radio station, where female reporter Genie Chance was left in sole charge. Her calm broadcasts throughout the night shared the news, helped reunite missing people and coordinated the volunteer effort. Down to Chance | Ali Wright This true story is the basis of the new two-hander by Cornwall-based theatre company Maybe You Like It, who are associate artists at the Pleasance 2025-27. Performers Ellie Jay Cooper (also the writer) and Robert Merriam switch between a host of different parts in this fast-moving production directed by Caleb Barron. Advertisement Hide Ad Advertisement Hide Ad Until the earthquake happens, Chance (Cooper) is struggling to get her stories aired. Everyone seems to patronise her as a woman in a man's world, and even her husband Winston is starting to suggest that she quit the station to spend more time with their three kids. However, her maturity and determination when faced with big decisions about what to broadcast eventually earns her the grudging respect of General James Whittaker of the National Guard who takes charge in the city. There are some laugh-out-loud moments when Dom, Genie's hapless accomplice, and his friend Kathleen, try to keep the station running through the night by singing Everly Brothers songs and playing charades, and garrulous radio ham Walt Sourbeer offers help in connecting with other hams across the state on short wave. The madcap comedy action does at times sit uncomfortably with the seriousness of the disaster, which claimed 139 lives. But there is so much to like in this production, a tribute to a woman who stepped up and triumphed in the toughest of moments, and a love letter to the golden age of radio. SUSAN MANSFIELD until 25 August Escape the Noise Central Hall (Venue 295) ★★★☆☆ It is non-stop: the alerts, alarms, emails, text messages, reels, and news stories. All compete for our attention, which is becoming an increasingly scarce resource. This is especially true of teens growing up in the global West, who we can observe at the outset of Escape the Noise as they text one another in the dark: 'You up?' 'Really need to talk to you right now.' 'Did you hear what happened?' Advertisement Hide Ad Advertisement Hide Ad Performed by Shoreline Theater Academy, Kidz Connection, a cast of 14 embody a diversity and range of experiences as a class at the fictitious STAKK High School. Not only are they reeling from the recent death of one of their friends, whose story is revealed steadily, but they are also dealing with the prospect of an upcoming outdoor educational event, which has a strictly no-phones policy. The piece is full of endearing moments, such as when two friends attempt to commit to memory a starry night without the use of their cameras. The stage is transformed easily through effective use of choreography and song, and this aids the delivery of the play's core message: that it is possible to forge and maintain meaningful connections in a world of hyper-connectivity. JOSEPHINE BALFOUR-OATTS until 6 August Forget-Me-Not Greenside @ George St (Venue 236) ★★★☆☆ In Forget-Me-Not, Julie Lake (known for playing Angie Rice in the American comedy-drama television series Orange is the New Black) and singer-songwriter Annie Macleod navigate the chaos and wonders of new motherhood. Using autobiographical details, the pair explore the intimacies of pregnancy – including, but not limited to, preeclampsia, nausea, vomiting, and incontinence – as well as topics like abortion, miscarriage, and ethical non-monogamy. Original music provides a haunting mixture of jazz and folk, and their voices blend exquisitely despite holding often-conflicting viewpoints – not least regarding the compatibility of motherhood and artistry. It is a gentle theatrical experience, right down to the softness of the lighting and the delivery of dialogue between songs. The overall effect is soothing, as if being held in a sling, or swaddled. Advertisement Hide Ad Advertisement Hide Ad Ultimately, this is the story of the show, and how it came bravely into being. Their timeline approaches the present like a wave approaching the shore – Julie's sinus infection is real, as is their jetlag – and there is no pretence in their reflections as they take stock. They are in Edinburgh; they are in their 40s. They are artists, mothers, and friends. It is sometime in late summer, and most importantly of all, they are loved. JOSEPHINE BALFOUR-OATTS until 9 August Anatomy of Pain theSpace @ Surgeons Hall (Venue 53) ★★★☆☆ Alex (Klara Grapci-Germizaj) does not simply live with pain, she lives IN pain. 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Both performers equip themselves extremely well and if there's a lack of emotional involvement then perhaps that's the point. It's an illustration of the dissociative effects of pain that sometimes seems aimed more towards the medical profession than a general audience. RORY FORD until 9 August Dial 1 for UK Greenside @ Riddles Court (Venue 16) ★★★☆☆ 'The mass of men live lives of quiet desperation,' wrote Thoreau. For Uday Kumar, as a new immigrant to England from India, his life is more desperate than most — not that you'd necessarily know it. As winningly performed by Mohit Mathur, Uday is a lively, ingratiating presence, as eager to please the audience as the retired British gentlefolk he's employed to care for. In truth, it's not that different from his previous job in India as a phone operative for a crypto company; gaining people's trust with constant chatter, anxious to keep the conversation going lest desperation slip in during one of the silences. Advertisement Hide Ad Advertisement Hide Ad This one-man show coasts well enough on Mathur's charm initially but it's only when he lets the facade begin to slip that it really engages. Without ever truly losing sight of his character's sense of optimism he shades Kumar's personality (the initials 'UK' are no accident) to show what men living lives of quiet desperation might feel driven to. Purists may balk at Mathur's use of AI generated images to help set scenes but at least it's consistent with Kumar's circumstances; forced to live by his wits — and Chat GPT — in a foreign land. RORY FORD until 9 August Summer Fling theSpace @ Niddry St (Venue 9) ★★★☆☆ The exploitative nature of reality dating shows is effectively skewered in this likeable new comedy from writer/director Grace Donaldson. Four young hopefuls arrive on an island looking forward to a summer of 'sun, short shorts and semen' — and if that strikes you as a tad rude then you're probably not going to vibe with the endearingly vulgar energy of this Student Theatre at Glasgow production. The performances go a long way to make this; George Rogers horrendous 'landlord-slash-influencer' Aaron is nicely complemented by Erin Bruff's charming 'beta-male' farmer, Ollie. Lola Gibbons imbues Maisie with a neurotic Irish crackle that sparks well off the laid-back arrogance of Savannah Merriwether's 'Chlamydia Barbie' Donna. While this often resembles a series of sketches on a theme rather than a play — a more rigid sense of structure and plot would not go amiss — this has the good sense to keep the scenes short and snappy so there's still a real sense of pace even without real narrative drive. It admirably has no truck with subtlety and the talented cast manage to imbue this with a frenetic — almost cartoon — energy that can sell the crudest gags. RORY FORD until 9 August