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The Herald Scotland
5 days ago
- Entertainment
- The Herald Scotland
Censorship play company 'almost' pulled plug on Festival run
The company has posted a video mocking the restrictions it claims to have faced in the run-up to the opening night of the production, which is billed as 'daring, thought-provoking theatre that refuses to shy away from the truth.' Read more: Its show, which will be running at the Church Hill Theatre in Morningside over the next few days, is said to explore 'the ever-tightening grip of censorship on artistic freedom.' The video created by the cast and shared on the social media platform Instagram suggests that the arts sector is 'awash with dirty money.' Cutting the Tightrope is being performed at the Edinburgh International Festival. (Image: Ali Wright) The company's performers poke fun at this year's EIF theme, The Truth We Seek, highlights the number of restrictions in their EIF contracts on what they 'can and cannot say,' and explores the link between Baillie Gifford and defence giant Babcock International. The EIF has come under growing pressure in recent weeks from pro-Palestine campaigners to sever its links with the Edinburgh-based investment company. The Art Workers for Palestine group has previously asked EIF performers, arts industry workers and audience members to back an open letter calling for the 78-year-old to drop Baillie Gifford, which has been targeted over its investments in firms which have been linked with Israel. Cutting the Tightrope, which is being performed in Scotland for the first time, was launched by the London-based theatre company Arcola last year. The show was partly inspired by controversial new guidance issued by Arts Council England warning that political statements made by companies and artists which cause 'reputational risk' could breach funding agreements. The show, which was also said to have been created in response to 'silence around Palestine on UK stages,' consists of a series of short plays exploring 'the power of the arts in today's world events, political resistance and displays of artistic freedom.' Writing on the EIF website, festival director Nicola Benedetti describes Cutting the Tightrope as an 'urgent artistic response to that moment and audaciously explores the power of the arts in today's world events, political resistance and dialogue around artistic freedom." Cutting the Tightrope's video, which is partly bleeped out, has emerged in the wake of claims that the EIF has tried to gag artists and performers appearing in this year's event. The Art Workers for Palestine group has published an exchange of emails which suggests visiting companies have been warned against doing anything which may affect the reputation of the festival or any of its sponsors. However the EIF has insisted that clauses in the contracts of artists are "standard provisions" used across the UK arts sector. At the start of Cutting the Tightrope's video, one of the company says: "Today we want to talk about truth. We are currently in rehearsals for our run at the Edinburgh International Festival. We're really excited to bring this to you. 'It's a really fantastic show, and you know what? We almost didn't do it, but we ultimately decided that it's more important to tell these stories on that stage, especially at this current point in time, and we thought we could raise some awareness while we're doing it.' Another performer says: 'We just had to check our contracts, because this year, there are quite a lot of clauses in the contract about what we can and can't say, particularly in relation to the festival and their sponsors. 'You see, Baillie Gifford is one of the EIF biggest institutional funders. It's a Scottish investment firm, which in turn holds millions in arms and fossil fuel companies.' A third member of the company said: 'We decided to take up this space and tell these stories that need to be told in a sector that is, when you really look at it, quite disgustingly awash with dirty money.' The video ends with the message: 'Come watch our show, Cutting the Tightrope, where we tackle issues of censorship in the arts scene, as part of the Edinburgh International Festival, whose theme this year is The Truth We Seek." A spokesperson for the EIF said: 'We're proud to be the only international festival to present Cutting the Tightrope this year. 'Having sought out this collection of plays at the Arcola Theatre, we issued an invitation to the festival because we believed in its artistic potential and its daring, important themes. 'The plays sit alongside a number of powerful productions we have selected this year to tackle urgent global issues head-on, from a range of perspectives, reflecting our theme. 'It is often our role to boldly programme work that others would not. We give voice to artists, and create a platform for important questions to be addressed artistically with nuance and empathy. 'As Cutting The Tightrope do-director Kirsty Housley said in the audio introduction to this work: 'The platform that Edinburgh International Festival are giving us feels really important. It's the first time we've ever received proper organisational support. It means that we have access to a different audience, a wider audience, an international audience, as well as the local Edinburgh audience, but also, just have infrastructure around us.' 'We are also proud of the longstanding support we have received from Baillie Gifford over the past two decades. We believe that Baillie Gifford's investment principles and portfolio are being mis-characterised and we encourage anyone commenting on this to ensure their own factual accuracy. 'We have always been transparent and forthright with artists about the essential mix of public and private funding that the festival requires. We recognise that people have different personal views on this subject and support the right for these to be expressed. "The festival doesn't prevent anyone from expressing their political views and we support we are giving artists a significant international platform for their work. We look forward to introducing these powerful plays to new audiences, and now more than ever, these important stories deserve to be heard.' The Herald has teamed up with to make the purchase of tickets for the festival so much easier. To buy tickets, please click here.
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Scotsman
03-08-2025
- Entertainment
- 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. Based on writer-director Aoife Parr's experience living with chronic illness due to an undiagnosed case of Ehlers-Danos Syndrome (EDS) — a condition where your joints move too easily and too quickly — this is an unusually disciplined show that sometimes holds the audience at arm's length. Parr uses poetic language to describe Alex's pain, which can be slippery to relate to. However, this is perhaps intentional as Alex's doctors and psychiatrist (all played by Will Kirk) also struggle to understand or even believe her (EDS is often misdiagnosed as hypochondria). There's an interesting formalism to the staging as Alex and her various physicians stand at mics as far part as the stage will allow, unable to come to an agreement between lived experience and medical theory. If this makes proceedings a little dry — and it does — it brings a forensic element to a story that deals with suicidal ideation and despair. 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
Yahoo
21-04-2025
- Business
- Yahoo
How one small tea business is navigating Trump's tariffs
It's not just big corporations that will be impacted by President Trump's tariff plans. Small businesses may feel the pinch too. In the video above, Brooklyn Tea owners Jamila and Ali Wright share how tariffs are impacting their business. To watch more expert insights and analysis on the latest market action, check out more Asking for a Trend here. The weight of trade policy uncertainty is hitting small businesses with 145% tariffs on goods from China and rising trade tensions. Businesses we know are looking to find their footing amid growing fears. For insights on the state of small business, we're speaking with husband and wife duo Ali and Jamila Wright, co-owners of Brooklyn Tea. Welcome both of you to the set. Appreciate it. Thank you for having us. Thank you for having us. I will ask you, maybe to start for the unfamiliar, for viewers. Tell us a little bit about Brooklyn Tea, how you all started, just the history of it. Yes. So, again, I'm Jamila Wright. I'm Ali Wright. And we got started with Brooklyn Tea in our apartment in Crown Heights, Brooklyn. So we set out to expose our community and hopefully the world to the health benefits of tea and also the magic of just communing with the person across the table, um, through tea, then tea being the conduit. So we started from our apartment and we asked our friends and family and dumped out our retirement savings and opened up a brick and mortar in 2018. Um, but the essence of the Y behind Brooklyn tea really is my husband's childhood experience with tea. So my family is West Indian, we're Jamaican, and tea's a really big part of our culture. We drink tea in the morning, we drink tea at night, tea for a sprained ankle. Tea is always the answer. Um, and so in my house, I've been bringing my mom tea since I was three years old. Took it to college, and then a lot of our dating was around tea, so I'd take her tea hopping instead of bar hopping, make her pots of tea with cinnamon sticks in the bottom. Super romantic, I have to tell you. It definitely worked. We kind of opened the tea shop together and, yeah. So let me ask you too, so you started in 2018. Mhm. Now it's been, it's seven years. Yes. Like a lot of small business owners, you're now dealing with this dynamic tariffs, right? Front and center, a new potential headwind. How are you all dealing with that dynamic? How are you navigating that challenge? Okay. So there's a layer of anxiety there. I think you could probably understand. Um, tea is the core of our business. We're Brooklyn tea, and we are importers of tea. You know, that's how we, um, that is how we make our dollar. Uh, and so, as you know, tea is being, um, heavily taxed or the tariffs are extremely high for countries like China. And you can imagine China being the origin of tea, where we source a lot of our flavors from. Um, it's a bit of, um, a tricky situation. Yeah. So for a real concrete example, I was ordering tea, um, it was actually from Thailand, and they told us to, don't buy it today, we think the terrain's going to be different tomorrow. So we're actually having phone calls instead of emails because it's so complicated and complex that no one on either side really knows what's going to happen next. So we're kind of like waiting and seeing what's going to happen next or it's just like, you know, just supply our shop. Does it mean, Ali, as you try to navigate this though, and you're thinking of, okay, potential levers I might need to pull as a small business owner. Is it okay, we might have to eat some of that cost? Do you have the margin to eat that cost? Do you have to pass that along? Some combination of the two? Yeah. So we are putting everything on the table as options, right? So, um, there is the possibility of teas and our more exclusive, um, high-quality teas being, um, priced up a little bit while keeping our, um, our more casual flavors like the mangoes and the raspberry, um, green teas, those can stay pretty normal. Um, so, and but the Zingaba Woolongs, right? Those more, um, Exclusive. Exclusive teas being increasing that customer base typically knows that that tea is something that they have to pay more for. So trying to cushion most of the neighborhood while adding a little bit other way other ways. We're also thinking of because China is being tariffed so heavily of trying to get some of the similar teas from different places. Kenya is the third largest exporter of tea. So how hard is it, Ali, to shift like that for you? Oh, it's terrible. A lot of the, yeah. So the way small businesses can function against big businesses is building these relationships. So we have relationships with these small farmers in China right now, right? And so we have to now make new relationships and new places and abandon our current relationships. And, you know, they don't want to charge us more either because, you know, person to person, they don't want to charge us more, we don't want to pay more. So we're kind of stuck in this limbo of what do we do? I can see. Yep. And also we lose a little bit of the storytelling aspect. So when you want to have a Chinese green tea, the, the story, the beauty of saying, oh, we got this from a small farm that in China, right? We lose a little bit of what is, I mean, honestly, some of the branding and marketing behind our company. Quickly, as a longtime coffee drinker, Ali, what is the bridge to tea world that I need to have on my radar? Yeah. So you need to try the caramel puer. It's a black tea with caramel pieces and a little bit of almonds. So it tastes something like a flavored coffee, but it also has caffeine. So you're not going from high caffeine to zero, going for high caffeine to medium high caffeine. So it's a smooth bridge onto, you know, one day a nice oolong. You sold me. It sounds delicious. Jamila, Ali, thank you so much for your time today. Appreciate it. Best of luck. Thank you. Thank you. All right. Thank you so much. Sign in to access your portfolio
