
NI theatre and dance productions to be spotlighted at Edinburgh Fringe
The Spotlight On Theatre And Dance From Northern Ireland initiative on August 19 is delivered by Theatre and Dance NI (TDNI), in collaboration with Belfast International Arts Festival, and supported by British Council Northern Ireland and The National Lottery through the Arts Council of Northern Ireland.
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.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Scotsman
an hour ago
- Scotsman
John Swinney criticises venue over Kate Forbes cancel culture row
The First Minister said Summerhall's actions were not appropriate Sign up to our Politics newsletter 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... John Swinney has criticised the treatment of his deputy by a major venue at the Edinburgh Festival Fringe. A cancel culture row broke out after Kate Forbes was interviewed on stage at Summerhall Arts earlier this month. Advertisement Hide Ad Advertisement Hide Ad The venue later described the booking as an 'oversight' and said it would be writing 'robust, proactive inclusion and wellbeing policies that prevent this from happening again'. Kate Forbes and John Swinney, pictured in 2024 | PA The Deputy First Minister is a devout Christian and a member of the socially conservative Free Church of Scotland, and has been criticised for her stance on gay marriage, abortion and trans rights. Asked about the row, Mr Swinney told journalists: 'I think there is no reason why Kate Forbes shouldn't be able to speak at any venue in Scotland.' Pushed on Summerhall's actions, he said: 'I don't think that's appropriate.' Advertisement Hide Ad Advertisement Hide Ad The First Minister made the comments after appearing at an event hosted by the Enlighten think tank in Edinburgh. Summerhall Arts, which has received hundreds of thousands of pounds in public funding, has since U-turned on its position, with chief executive Sam Gough saying: 'No one is banned from appearing... We have not banned anyone.' Ms Forbes spoke at the venue on August 7 as part of a series of events organised by The Herald newspaper. In an email sent to artists that day, Summerhall said: 'At this point, 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's views outside of these walls to Summerhall, and as such the interview will take place as scheduled, with all proceeds from the event donated to a local LGBTQ+ charity, the amount and the recipient will be published as soon as possible. Advertisement Hide Ad Advertisement Hide Ad 'While the event is happening, staff will be on hand to help anyone who may wish to make use of a designated relaxed space. '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.' Ms Forbes has said she 'fervently' believes in freedom of speech, adding: 'Any effort to cancel people, especially politicians, undermines democracy. Advertisement Hide Ad Advertisement Hide Ad 'Many people attended the Herald event and it is important that we could freely discuss and debate matters in a respectful manner. 'I respect and acknowledge the fact that, in a liberal democracy, there are people who will agree with me and others who will disagree with me. 'That is all the more reason to create events where the audience and journalists can question politicians openly, as the Herald did.' Last week, Nicola Sturgeon, who appointed Ms Forbes as finance secretary while she was first minister, also criticised Summerhall.


The Herald Scotland
3 hours ago
- The Herald Scotland
Fringe chiefs thwart 'self-sabotage' public funding bid
Chief executive Tony Lankester, who is in his first summer in the role, has seen off a behind-the-scenes rebellion led by Peter Buckley Hill, the founder of 'Free Fringe' venues at the festival, which sparked fears the society would struggle to secure public funding in future. Read more: He wanted members of the society to ensure there was a 'level playing field' for artists and it was not doing anything to 'discriminate in favour of one show against another'. However Mr Lankester claimed it was 'fanciful' to suggest that the UK and Scottish Governments, who are supported the festival to the tune of more than £1 million this year, would keep putting money in if there was no 'rigour' or 'oversight' into how it was being distributed. Tony Lankester is chief executive of the Edinburgh Festival Fringe Society. (Image: Gordon Terris) The bid to rethink the Fringe's funding programmes was rejected by 80 members, while just 23 voted in support. Mr Buckley Hill and his supporters wanted the society to commit to distribute all public funding should be distribute 'equally and equitably' among all artists who take part in the event. Ruxandra Cantir's show Pickled Republic is part of the Made in Scotland showcase at the Edinburgh Festival Fringe. (Image: Andy Catlin) However Mr Lankester said this would mean the Fringe Society spending tens of thousands of pounds to administer a fund that would distribute grants of just £6 to artists. The motion put forward for the Fringe Society AGM stated that 'the principle of open access' remains at the heart of the Fringe' and argued that the charity has 'no power or mandate to 'distinguish between the artistic quality of shows, or the value of venues'. Free Fringe founder Peter Buckley Hill has led criticism of how public funding support for the Edinburgh Festival Fringe is Fringe Society has insisted it has been an 'impartial, arms-length administrator' of public funding, using independent expert panels and assessors to decide on funding applications. However a key criteria for funding is that it is intended to support artists and performers who 'do not have an existing high profile and artists who face barriers to funding and the arts more generally'. Speaking at the AGM, Mr Buckley Hill claimed most of the public funding handled by the Fringe Society was being used to help acts pay for 'bloody great big posters.' Mr Buckley Hill suggested that the Fringe Society's application forms were 'framed in middle class terms.' And it feels counter-intuitive and self sabotaging to be entertaining or supporting a motion that will have the effect of doing the opposite – not just to the programmes we currently run, but any future initiative or project which seeks to put money back into the ecosystem, into the pockets of those who deliver the Fringe and take personal and financial risk to do so. He said: 'Giving some shows an unfair advantage over other shows is a violation of the open access principle that the Fringe has always stood for and still boasts of. 'Some people are richer than others. We can't stop that, nevertheless we can stop exacerbating that, and instead work in the direction of equality for all and at least level off the playing field.' Stand-up comic Kate Smurthwaite said the distribution of public funding by the Fringe Society had encouraged "an advertising arms race' at the festival. She added: 'We now have a situation in which those of us who don't have funding are suddenly being out-postered by people who are being sponsored by government.' Mr Lankester insisted the Fringe Society 'could not be more transparent' about how the public funding it is responsible for has been allocated and distributed. He added: 'We agree that the Fringe Society should not play favourites. We agree that the Fringe Society itself should not be making subjective decisions or assessments on the artistic merits of a piece of work or of a performer. We agree that the Fringe Society should not discriminate against one artist in favour of another. We want to state clearly that we don't do any of those things. 'Without some baseline criteria, without an independent group of assessors, without the rigor of Fringe Society oversight of the process, that money would never have been made available to artists, full stop. 'It's fanciful to suggest that we can strip out that rigour, strip out that oversight and strip out of that process and funders would still be willing to give us money.' Mr Lankester said the 'single biggest challenge' facing Fringe artists was the cost of bringing work to Edinburgh. He added: 'Supporting them in overcoming that challenge by advocating for funds to come into the ecosystem that wouldn't otherwise have done is exactly the role of the Fringe Society. 'It feels counter-intuitive and self sabotaging to be entertaining or supporting a motion that will have the effect of doing the opposite – not just to the programmes we currently run, but any future initiative or project which seeks to put money back into the ecosystem, into the pockets of those who deliver the Fringe, and take personal and financial risk to do so.' 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
4 hours ago
- Scotsman
Edinburgh Festival Fringe has become 'great monster', Two Doors Down star tells Baby Reindeer-linked venue
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... The Edinburgh Festival Fringe is a 'great monster' that has moved away from its original ethos of accessibility over the past ten years, Two Doors Down star Kieran Hodgson has warned. Speaking at an industry panel event at Shedinburgh on Monday, the new Fringe venue spearheaded by Baby Reindeer producer Francesca Moody, Mr Hodgson said 'professionalisation' of the festival had changed its character. Advertisement Hide Ad Advertisement Hide Ad Comic Kieran Hodgson. | Kieran Hodgson The panel, which included Mr Hodgson and comedian Rajiv Karia, alongside producers Owen Donovan and Phoebe Bourke, also warned the rising costs of visiting the Fringe made audience members less likely to take risks on the shows they see, with established TV comedians more likely to sell tickets. In response to a question from panel host and Berk's Nest co-founder Ms Bourke, who asked whether the Fringe was 'still what it started out to be in terms of ethos', in terms of being 'accessible to everyone and not exclusive in any way', Mr Hodgson said he believed the event had changed dramatically in ethos over the past decade. Gordon (Kieran Hodgson) enrages Cathy (Doon Mackichan) with his impression on her in Two Doors Down (Picture: BBC / Alan Peebles) He said: 'You can find it [the ethos], but it's not the overall character of it. It's the beast. It's the great monster now. 'It dwarfs the entire International Festival, it dwarfs everything. Because there's a lot of money involved and also because it's seven-and-a-half decades old, people have gamed it. People have worked out how to organise it in such a way that certain things thrive and certain things don't thrive. Advertisement Hide Ad Advertisement Hide Ad 'It's not just five rooms and people are turning up and giving it a go with something they wrote a month or so ago. To succeed here, you plan it two years in advance. There's so much professionalisation that's happened everywhere. Ten years ago, I think you could find that spirit during the shows when I was doing the free Fringe.' Mr Donovan said his company, Berk's Nest, and others like it had professionalised Fringe production, operating as year-round organisations and taking financial risks on behalf of a small number of artists. He said: 'If the question is 'do we think the original ethos of the Fringe still remains', the answer is no and we are somewhat responsible. Effectively, what has happened over the last ten years is that us and companies like us, where largely producers in the Fringe didn't exist and in a decade of us professionalising ourselves as an organisation, we have effectively come in as commercial producers. Advertisement Hide Ad Advertisement Hide Ad 'Organisations like us have changed that ethos and we're much closer to how the companies that set up the International Festival were operating, rather than the ones who were behind the Fringe on the side.' Ms Bourke warned the rising cost of visiting the Fringe meant the audience was made up of 'a very particular type of person who can afford to be here'.