
NI theatre and dance productions to be spotlighted at Edinburgh Fringe
Now in its seventh year, the event aims to shine a light on work created by artists and arts organisations from Northern Ireland.
The exposure of being part of the Edinburgh Festival Fringe gives an opportunity for the artists to connect and network with international arts industry figures with a view to having their work tour internationally.
The three productions from Northern Ireland being profiled in 2025 are Anthem For Dissatisfaction by Gina Donnelly with SkelpieLimmer Productions, Consumed by Karis Kelly, a Paines Plough, Belgrade Theatre, Sheffield Theatres and Women's Prize for Playwriting production in association with the Lyric Belfast and Shame Show by Colm McCready and Fergus Wachala-Kelly with SkelpieLimmer Productions.
In addition, four Northern Ireland artists will travel to Edinburgh as part of the Fellowship Programme, designed to support artists, directors, and producers who are exploring future opportunities at the Fringe.
This year's fellows are Carley Magee, Ronan McManus, Gemma Mae Halligan and Lisa May.
Niamh Flanagan, executive director of Theatre and Dance NI said: 'Over the past seven years, Spotlight at the Edinburgh Fringe has demonstrated the strong national and international appetite for theatre and dance from Northern Ireland.
'The festival has created invaluable opportunities—drawing attention from national and international programmers leading to touring, collaboration, and other opportunities both at home and abroad.
'This recognition continues to elevate Northern Ireland's reputation on the global cultural stage.
'The Spotlight programme now extends beyond Edinburgh, providing support to artists and companies as part of both the Belfast International Arts Festival and Belfast Children's Festival.'
She added: 'We are delighted to present three exceptional artists as part of this year's Spotlight at the Edinburgh Fringe programme.
'Their work exemplifies the innovation, ambition, and artistic excellence that define Northern Ireland's creative sector. We're thrilled to support them in showcasing their talent at the world's largest arts festival and marketplace.'
Richard Wakely, artistic director and chief executive of the Belfast International Arts Festival said: 'The Spotlight at the Edinburgh Fringe programme continues to celebrate Northern Ireland artists who are working across performance disciplines and wish to create deep and sustainable international partnerships and collaborations.'
Jonathan Stewart, director of the British Council Northern Ireland said: 'Providing Northern Ireland artists and companies with opportunities to showcase their work on international stages not only broadens their reach but also strengthens our local creative community.
'This exposure helps fuel a vibrant, thriving creative economy in Northern Ireland, benefiting artists, companies and audiences alike.'
Siobhan Molloy, festivals, venues and international arts development officer at the Arts Council of Northern Ireland, added: 'The Arts Council is proud to help spotlight the incredible theatre and dance work being made in Northern Ireland at this year's Edinburgh Festival Fringe, and funding from The National Lottery has been a game changer in helping us achieve that.
'It is vital that these works are seen, and so it is really exciting that a huge potential market is opened up to these theatre makers by attending the Edinburgh Festival Fringe.'
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BBC News
13 hours ago
- BBC News
Couple get married on stage in the middle of Edinburgh Fringe show
There are plenty of shows about weddings at the Edinburgh Festival Karp and Joseph Martin star in one, the inordinately long-titled The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here)).But on Saturday, they became the first couple to marry onstage as part of the official Fringe wedding in the 750-seat Pleasance Grand was ticketed with friends and family seated alongside other performers and fringe goers. "We've been a real life couple for 11 years and we're having a sort of a small ceremony in September but we wanted to do the legal bit first and we thought Edinburgh's a very special place for us so why not do it there?" says Joseph. Both grooms were in outfits designed by Edinburgh based Cosimo Damiano Angiulli (Simo the label) and came down the aisles to their own distinctive theme tunes."There was a moment where we left the stage just before the audience were led in and I felt the nerves kick in a little bit," says Joseph."But then show mode kicked in and bizarrely, it felt like the natural place for us to be at that point. We're at home. "The ceremony was conducted by Jackie Blackburn from Edinburgh City Council."I have been involved in many unique ceremonies but none quite on the scale of this," she says."It was by far the largest venue and greatest number of guests I've officiated in front of. "My favourite part of their ceremony was when the grooms made their vows and declarations to each other - they were so sincere as in addition to the required legalities they had written their own personal vows, it was like a period of calm in the midst of magical romantic mayhem." Joseph, who is from Northamptonshire, vowed to continue to enable Linus's "insane ideas" - as he dressed as Princes Diana and Gwyneth Paltrow for their other shows Diana: The Untold and Untrue Story, and Gwyneth Goes who's from Sweden, described Joseph as the "sweetest most ridiculous person" and said he couldn't wait to create "more stupid fringe shows" sets of parents joined their sons on stage where Linus's mother Elisabeth Ljunggren said they were happy to share their day."Love is a gift to cherish and care for, every day in good times and bad, in sickness and health," she said."We love you both to the moon and back."Fellow performers including Sooz Kemper, Emily Lamey and theatre company Recent Cutbacks provided the entertainment, and guests were invited to donate to charity or buy tickets to their shows in lieu of happy couple had just over an hour with their guests in the outdoor bar before they had to leave for that day's with US and UK dates in September and December, there's little time for a honeymoon either."I'm not sure there'll be time for a real honeymoon for a little while at least but performing at the fringe is very much a honeymoon in itself, very relaxing," says Linus."Maybe we'll climb Arthur's seat. That seems like a good way to celebrate our Scottish wedding."


The Herald Scotland
16 hours ago
- The Herald Scotland
Summerhall founder condemns apology over Kate Forbes event
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(Image: Stewart Attwood) Summerhall Arts, which has taken over the running of shows and events at the venue from Mr McDowell, 'apologised unreservedly' to artists and performers appearing during the festival for the appearance of Ms Forbes in its programme. The deputy first minister, who was booked to appear as part of a series of political events organised by The Herald, has direct responsibility for the funding of Edinburgh's festivals as the culture secretary, Angus Robertson, represents the Edinburgh Central constituency. Ms Forbes announced £300,000 for funding aimed at 'safeguarding' the future of the Fringe in March, when she described the festival as 'one of Scotland's signature events.' Summerhall, which is now run by chief executive Sam Gough and a board led by Deborah Christie, secured public funding for the first time in January when Creative Scotland decided to allocate the arts charity more than £600,000 for the next three years. Ms Forbes spoke at Summerhall days after announcing she would not be standing in next year's Holyrood election, saying she wanted to focus more on family life. A devout Christian and a member of the Free Church of Scotland, Ms Forbes was criticised during her SNP leadership battle over her views on gay marriage, abortion and trans rights. The apology from Summerhall Arts, an arts charity formed months before the venue was put up for sale by Mr McDowell's family, said it should have considered the likelihood of Ms Forbes being booked for The Herald's Unspun Live events, and the 'understandable upset it would cause'. Alerting companies to the appearance of Ms Forbes hours before she was due to appear, the venue added: 'Our main concern is that cancelling the event could pose significant additional risk to the safety and wellbeing of LGBTQ+ artists, staff and audiences by attracting those who share Kate Forbes' views outside of these walls to Summerhall. 'We do not believe LGBTQ+ rights, nor their existence, is up for debate. We recognise that the LGBTQ+ community make up a significant proportion of our artists, audiences and staff, and we have work to do to repair the damage from this oversight. 'At this stage, we can guarantee that we will be writing robust, proactive inclusion and wellbeing policies that prevent this from happening again.' Mr McDowell, who bought Edinburgh University's former vet school building to turn it into a year-round culture venue, said he was no longer involved in the programming or running of Sumerhall, but had been visiting every day during the Fringe to attend shows and events. Mr McDowell told The Herald: 'I've not been able to find out who issued that apology. I don't know who wrote it. If I had been asked, I would have said that it was nonsense. 'Of course, these things are up for debate. Everything is always up for debate. What are the arts if they don't allow freedom of speech? 'If somebody has an objection to something you don't ban it. You just turn up and ask a question or make a statement. It's an opportunity to say what you think. 'Whoever compiled that statement was just addressing their friends. It's part of a cancel culture kind of way of thinking. 'Some people sometimes take it upon themselves to sort of think that if the feel strongly enough about something there ought to be a law and if there isn't they will impose their views. 'Sometimes people feel that if someone has gone out on a limb they have to show a bit of a solidarity and then get carried away 'Unfortunately we all have to try to tolerate it and hope that will get over themselves at some point. "The idea that you could ever construct a way of doing this is idiotic. It would be possible. There's no way you could second guess artists or shows. 'I could see how the apology happened, but I thought it was silly and stupid. It's what happens when people rush to judgment. 'I don't like the way everybody rushed to judgment on JK Rowling. She can cope with that. I'm on her side, pretty much, but I can understand why some people aren't.' Mr McDowell drew a contrast between the apology over Ms Forbes and the efforts of long-time arts campaigner and promoter Richard Demarco to bring artists from around the world to Edinburgh. He was recently forced to move part of his archive from Summerhall, where he had been offered space by Mr McDowell after he opened the venue in 2011. He said: 'Demarco crossed the Iron Curtain more than 90 times, not because of propaganda or politics, but to embrace across the divides. That's we have to do in the arts, that is our job. 'One of the good things about the country and democracy we live in is freedom of speech, where can have debate and we can have discussion. 'What I do not like is where people do not want to have debate or do not want to discussion, or where they say: 'It's more important that I don't ever feel uncomfortable'. 'Venue management only have to apply the laws. They can have views and opinions, but they cannot censor. This is about freedom of speech.' Mr McDowell said he would be opposed to any attempt to ban elected politicians from speaking or being interviewed. He added: 'It's extremely important for freedom of speech for journalists to be able to question people in public, and to have further discussion and debates in public. 'I sat in on Kate Forbes' session. I think she is a lovely person. I used to enjoy meeting Alex Salmond, even though he and I had opposite views. I respected him. He was a real person.' Creative Scotland issued "dignity at work" guidance to all applicants for long-term funding. They state: "Everyone working in Scotland's creative and cultural sectors is entitled to be treated with dignity and respect, whether they are an employee, freelancer, contractor, board member or volunteer. "Creative Scotland does not tolerate bullying, harassment, or victimisation under any circumstance, and expects the same of any organisation that we support with public funding. "Those applying for activity that involves employing other people should ensure that they have appropriate safeguards in place to ensure dignity at work, including approaches to ensure best practice in areas such as equality and diversity, harassment and bullying, disciplinary and whistle-blowing. "Our role is as a funder, and we do not have a regulatory role. However, we expect all grant recipients to take their responsibilities around safeguarding and dignity at work seriously when in receipt of public funds and failure to do so could result in payments being suspended or grants withdrawn." A spokesperson for Creative Scotland said: "We are in dialogue with Summerhall Arts to understand recent events and the steps they are taking to address concerns that have been raised." The Herald has teamed up with to make the purchase of tickets for the Edinburgh Festival Fringe so much easier. To buy tickets, please click here.


Scotsman
17 hours ago
- Scotsman
Fringe theatre review: BABYFLEAREINDEERBAG + 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... BABYFLEAREINDEERBAG (WIP) ★★★★ Summerhall (Venue 26) until 25 August There's no more obvious sign that something has become too unwieldy to function than when it begins to eat itself. Take, for example, the Edinburgh Festival Fringe, in which Bringing Shows To the Fringe seems to have become its own increasingly prevalent genre: a metatextual howl against the appalling labour conditions and precarious funding landscape in which the artists who make the festival are forced to work. 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Alexander Cohen Lovett | Andrew Perry Lovett ★★★ Pleasance Courtyard (Venue 33) until 25 August In most iterations of the Sweeney Todd story, Mrs Lovett plays second fiddle – or should that be second razor? – to the demon barber of Fleet Street. In this one-woman play written and performed by Lucy Roslyn, though, Nelly takes centre stage. Advertisement Hide Ad Advertisement Hide Ad The hour-long monologue begins with Roslyn's Nelly – real name Eleanor – solemnly sharpening a knife on a butcher's block and explaining the finer points of carving up a carcass. From there, she slowly tells the dark and desperate story of her life. We hear about an early encounter with a beached whale on the banks of the Thames; how Nelly's French mother sold her body after the death of her husband; how Nelly found security in her marriage to a German businessman; and how her life was injected with erotic excitement when she met a charming young barber called Mr Todd. 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It's a dry mood that is accentuated by Rachel Ravel and Marissa Ruben's stripped back, understated delivery, in which they stare straight ahead under S. Dylan Zwickel's similarly punchy direction attended by Madeline Rose Parks' socially inept air hostess. The conversation covers work, relationships, region and non-religion and, briefly, the Israeli-Palestinian conflict, although there's a clear gap in this part of the conversation – that of a Palestinian voice, which feels particularly absent at a time when unfathomable horrors are being carried out in the region. But within the limited scope of a simple story of two very different Jewish woman meeting on a plane, it's calling for understanding over conflict and finding the places that unify rather than divide. Sally Stott Dream with me... ★★ Greenside @ George Street (Venue 236) until 16 August There's a toddler in the audience who's loving this bold and experimental shape-shifting, self-referential, relatively late-night show about a man's metamorphosis-filled dreams featuring his father, his former athletics coach, a goblin, a pigeon and a fish. Advertisement Hide Ad Advertisement Hide Ad It's deliberately esoteric and, with writer/performer Samuel Koppel's jagged movements intercut with his monologues, the discombobulating feeling of travelling through the depths of the subconscious in sleep is well evoked. Unless you're the aforementioned toddler, the difficultly is in sustaining this for an hour-long place. 'I hope it's not too random, too complicated,' he says. It's not, but it wouldn't suffer from a bit more structure for the adults.