Latest news with #TonyLankester
Scotsman
2 days ago
- Entertainment
- Scotsman
No new sponsor to replace Johnnie Walker as Fringe bosses draw up plans to demand tourist levy from council
The Fringe Society admitted it has not found a replacement sponsor for Johnnie Walker 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... No new sponsor has been found for the Fringe to replace Johnnie Walker, Fringe chiefs have admitted, as they draw up plans to demand tourist levy funds from Edinburgh Council. The Edinburgh Festival Fringe Society said it could administer a funding pot made up predominantly from the city's visitor levy to help festival operators, under proposals being drawn up by the organisation. Advertisement Hide Ad Advertisement Hide Ad The society said it was compiling a comprehensive document which it will present to the City of Edinburgh Council by the end of the year, laying out the issues, problems and funding gaps identified by venue operators and other Fringe stakeholders. Among the recommendations will be the creation of a fund potentially administered by the Fringe, akin to the Scottish Government's £1.58m Platforms for Creative Excellence (PLACE) Resilience Fund, set up in 2022 to support the return of the festival in the wake of the pandemic. It would include at least £1.1m from the visitor levy, as well as additional money from sources including public funding. Tony Lankester is the new chief executive of the Fringe Society. | Fringe Society This comes as the Fringe admitted it had not yet found a replacement corporate sponsor for whisky brand Johnnie Walker, which ended its partnership last month, but insisted it would plug the gap with a string of smaller corporate tie ups yet to be announced. Chief executive Tony Lankester and deputy chief executive Lindsey Jackson spoke to The Scotsman as the Fringe launched its official programme for this August. This year's programme features work from 3,352 shows across 265 venues from 58 countries , slightly up on last year's figure of 3,317 shows. Advertisement Hide Ad Advertisement Hide Ad The pair said the funding pot could be made up of 'at least' £1.1 million from the Visitor Levy tax, which is due to be introduced next year, as well as public funding and money from other sources. Ms Jackson said a 'collective Fringe proposition' document is being drawn up following consultation with festival stakeholders, ahead of the council forming its Transient Visitor Levy (TVL) forum, with an expectation that it could begin to create funds toward the end of the year. The Society is running a series of workshops with venues to understand 'where the pinch points are' and what challenges they are facing. 'From a Fringe Society's point of view, investment from the visitor levy needs to go to the festival, not to the Fringe Society: it's about what's happening out there, not what's happening in here,' said Ms Jackson. Advertisement Hide Ad Advertisement Hide Ad 'Also [we're looking at] where the council needs to take responsibility and use its investment, or reduce costs or improve services, parks, access to clean drinking water, benches, toilets. Those things will all both reduce cost and reduce pressure on the whole environment generally, but will also make it a better experience in August. 'Our intention is, by the end of the year, with the venues, to have a collective fringe proposition and business case that is inarguable in its return on investment, its value for money. For a long time, the council and the city has said, 'We understand the Fringe's collective problems, but there's no money to support, we love to help, but we can't.' 'Now, this is our opportunity, so we will be right there on day one, knocking on the door with a well-evidenced and documented business case that says: 'This is why this is a long term and sustained return on investment. We all know that the Fringe contributes hundreds of millions of pounds to this city and many businesses, including accommodation providers. It feels like this is the right point at which the city finally has the money to put into supporting and underwriting the infrastructure. We're not expecting there to be miracles overnight, but we are expecting an early endorsement of the Fringe's need of value for money in that space.' Mr Lankester has pointed to a figure of £1.1m, which would be generated from the levy by Fringe performers alone, which he sees as a 'minimum' which should be handed back by the council. He said he had met 'informally' with venues to discuss synergies and ways the Fringe Society could support helping them to cut costs. Advertisement Hide Ad Advertisement Hide Ad The pot could potentially give venues the chance to borrow funds which would allow them to pay out for infrastructure and other outgoings further in advance, ultimately making cost savings. Mr Lankester believes the business landscape has changed dramatically since the pandemic. 'The world we're in now is vastly different from a lot of us, five years ago or 10 years ago or two years ago,' he said. 'No one can operate now post-Covid in the same way they were operating pre-Covid. It's completely upended every single business model of every single industry on earth. Add to that, the broader economic environment, the introduction of artificial intelligence. All of that, we're operating in different place now. 'And I think it's incumbent upon every business operating in the landscape to use it as an opportunity to re interrogate all their business and just ask some fundamental questions: In this context, should we be scaling up? Should we be scaling down? Should we be doing more? Should we be doing less? Should we be offering different deals to artists? Advertisement Hide Ad Advertisement Hide Ad 'It's not just a simplistic argument about what does the Fringe Society charge for X, or what is the council chance for Y? Those are part of it, but they're broader questions as well. We want to create the space where areas of collaboration can be surfaced. I think it's also worth partnering with the venues - and this is something the Fringe Society can do more of - to help them interrogate their own business models.' He admits there 'probably would have been' conversations with Johnnie Walker owner Diageo with an aim to renewing the sponsorship contract. The Society is targeting financial services, retail and beverage companies for potential deals. However, he believes the year-on-year income from sponsorships will not be 'vastly different' to last year, due to a string of smaller deals. Advertisement Hide Ad Advertisement Hide Ad He said: 'There are ongoing conversations, because medium term strategy for me is just to broaden that sponsorship pool so that we go from having five or six sponsors, to 10 or 15 sponsors with dovetail timing, so that they don't all start on the same day in the same year, so that we can even out some of the revenues. 'These things are elongated: there's not going to be a like-for-like replacement for the Johnnie Walker investment for 2025, but there will be other sponsors in the mix that maybe weren't there before.'
Edinburgh Reporter
2 days ago
- Entertainment
- Edinburgh Reporter
Edinburgh Festival Fringe 2025
Later today the full Fringe 2025 programme will be published in print and online. The online version offers searchable database of the 3,352 shows which will be performed at 26 venues. Themes range across some of the most topical to Shakespeare and everything in between. Tony Lankester, Chief Executive of the Edinburgh Festival Fringe Society, said: 'Programme launch is such an exciting moment for everyone involved making the Fringe happen. Thank you to all the Fringe-makers – the artists, venues, workers, producers, technicians, promoters, support staff and audiences that bring their un-matched, exceptional energy to Edinburgh in August. 'This year's Fringe programme is filled with every kind of performance, so whether you're excited for theatre or circus, or the best of comedy, music, dance, children's shows, magic or cabaret; get ready to dare to discover this August. Jump right in, book your favourites, shows that intrigue you and take a chance on something new.' The Edinburgh Festival Fringe Society is the charity that underpins the world-renowned Edinburgh Fringe. It was established in 1958 by a group of artists to provide central services for the festival and ensure that it stays true to its founding purpose of inclusion and welcome to all. We exist to support and encourage everyone who wants to participate in the Fringe; to provide information and assistance to audiences; and to celebrate the Fringe and what it stands for all over the world. Based on the Royal Mile in Edinburgh, the Society has a small team of staff who work year-round to assist all the artists and audiences who make the festival one of the best loved performing arts events on the planet. In 2022, as part of the Fringe's 75th anniversary, the Fringe Society launched a new collaborative vision and set of values, and made a series of commitments to become more inclusive, fair and sustainable. The vision is 'to give anyone a stage and everyone a seat'. The Fringe Society was awarded funding of £7 million by the UK Government and has entered a long lease of the premises at the former South Bridge Resource Centre which will become the Fringe Hub after considerable work has been carried out. Like this: Like Related
The Guardian
2 days ago
- Business
- The Guardian
Edinburgh fringe event organisers urged to capitalise on Oasis and AC/DC gigs
Organisers of Edinburgh fringe events have been urged to be 'pretty smart' and capitalise on the decision by Oasis and AC/DC to play gigs in the city midway through the festival. There was surprise and irritation when it emerged the bands would be staging four concerts at Murrayfield stadium in mid-August when the world's largest arts festival is in full flow. Tony Lankester, who recently took over as the Fringe Society's chief executive, said fringe companies should see the concerts as an opportunity rather than fret about downsides. About 75,000 fans are expected for each concert – three by Oasis and one by AC/DC, putting the city's trains, buses and trams under even greater strain, with visitors competing for already scarce and expensive hotel beds. Lankester, who previously ran South Africa's national arts festival, said fringe venues should tempt Edinburgh residents who may 'want to hide' when the concerts take place with discounted tickets or free wine. Venues could also tempt Oasis and AC/DC concertgoers with 'morning after' performances in the city with free bacon rolls and coffee, he suggested. 'What we don't want to happen is for the local audience to hide that night,' he said. 'There's some pretty smart marketing type things that I think venues could be looking at. The fact is that it's not going away. Why not be completely opportunistic about it?' This year's fringe, which runs from 1 to 25 Augustand takes place alongside the international festival and book festival, is expected to involve about 50,000 performances at 265 venues. Lankester said the strength of the programme, which includes themes such as rebellious women, the apocalypse, queer joy and rave culture, showed artists were as hungry as ever to perform despite global crises and tensions. 'What excites me most about the programme, is the signal that it sends is of an industry in healthy shape,' he said. For the first time, five shows from US performers are being underwritten by donors to the Keep it Fringe funding strand launched in 2023 by the Fleabag creator Phoebe Waller-Bridge, the fringe's honorary president, to support new, marginalised or innovative acts. Lankester said he had numerous conversations that 'reaffirmed for me what I knew coming into this job, that there's a lot of love and joy around the fringe. It's something that people absolutely want to preserve, protect, engage with, be part of. It's still on an incredible number of people's bucket lists.' He said he was talking to major brands about the potential to become headline sponsors of the fringe for the first time, to bring in extra revenue for performers and venues at a time of intense pressure on public funding. He said those discussions were at an early stage, but indicated it could involve a bank or beer brand. No sponsor would be allowed to rebrand the fringe, but their investments would help the festival to improve its finances. Sign up to The Guide Get our weekly pop culture email, free in your inbox every Friday after newsletter promotion In her last newspaper interview, Shona McCarthy, Lankester's immediate predecessor, accused political leaders of consistently neglecting the fringe and failing to adequately invest in services, transport and infrastructure such as mobile phone services. Lankester said he 'stood by' everything McCarthy had said. Her 'enormously valuable' intervention had fuelled action and more responsiveness in the council, the Scottish government and other agencies, he said, adding: 'The message landed.' Lankester is lobbying Edinburgh council to devote at least £1.1m of a new visitor levy on hotel beds to supporting the festival, and is in talks about strengthening the city's ailing mobile and wifi services, as well as improved rail services for non-residents. The visitor levy will come into force in July 2026, but hotels will begin collecting it on all bookings made from October this year. 'What we don't want to happen is for that money to sort of disappear into a black hole and for no benefit to be felt by the people [who] drive a big chunk of that revenue,' he said.
The Herald Scotland
6 days ago
- Business
- The Herald Scotland
So the Edinburgh Festival's future is under threat. Really?
Money is usually at the heart of it, in two areas specifically. First, funding and support for the arts at governmental and council level. Second the costs associated with coming to Edinburgh in August either as performer or punter. The major complaint on that front is the soaring price of accommodation, the result in part of an ugly tendency among private landlords in the capital for (let's call it what it is) naked profiteering. The pernicious effect of American online rental behemoth Airbnb and other companies like it doesn't help either. In Edinburgh, their presence has helped industrialize the hollowing out of the city centre, a process which has paved the way for sky-high August prices. At the same time, the council now requires those who may only let out a room or sub-let while on holiday to apply for a licence (and possibly also planning permission). This has taken some accommodation out of the market, which affects supply. Airbnb says it hasn't prevented rising costs, nevertheless the company is among those lobbying hard for its repeal. There may be a shortage of money for the Arts but there is always plenty of 'street theatre' (Image: free) Meanwhile a year-round 5% visitor levy, or tourist tax, is due to be introduced in time for the 2026 Edinburgh Festival, though it remains to be seen how much (if any) of the mooted £50 million windfall will be sent in the direction of the August festivals, or used to address their various infrastructure needs. The most vocal complainant and advocate for change and improvement tends to be the Edinburgh Festival Fringe Society, which runs the Fringe, the biggest player in Edinburgh's portfolio of summer festivals. In April newly-appointed chief executive Tony Lankester told The Herald: 'When discussions are happening on the visitor levy, the Fringe's voice is really important. We are not looking to the visitor levy as a way of feathering our nest or benefiting hugely financially from it. We might make an ask for certain projects, such as around our street events, but by and large our seat at the table will be to lobby for investment in the kind.' Ahead of the launch of the 2025 Fringe programme, others have voiced similar concerns about the pressures facing the Edinburgh Festival and the Fringe in particular – and in more strident terms. 'We have to do something to bring the cost of accommodation down,' says Anthony Alderson, director of the Pleasance Theatre Trust. 'By having made it so expensive to be here during August, for visitors and performers alike, we are slowly killing the Fringe.' On the other hand, the Fringe has now moved into a new home, something it has long campaigned for. It has seen its funding boosted. And earlier this month it announced that this year's event was on track to be the third largest in history. Meanwhile the Edinburgh International Book Festival is settling into its new home in the über-swanky Futures Institute, and the Edinburgh International Film Festival goes from strength to strength (though admittedly it started from a pretty low base). So are things as black as they are painted? Yes and no, which is another Edinburgh Festival tradition – everything's terrible until August rolls around, at which point everything's brilliant. Read more Birthday presence Everywhere you turn these days somebody, somewhere is celebrating the anniversary of something or other. Big or small, niche or mainstream, well-planned or half-arsed, it's coming at you. Last year we had Edinburgh 900, a rather lacklustre effort to commemorate 900 years since King David I created the royal burgh in which the capital sits. In January, Glasgow 850 launched, a rather more muscular and imaginative affair aimed at celebrating 850 years of the Dear Green Place. One of its key events, the three-day music festival Clyde Chorus, kicks off on Thursday. Back in the capital, 2026 will see the 200th anniversary of the Royal Scottish Academy (RSA), which is both building and organisation. It's also, some might argue, something close to a state of mind for its members, the Academicians. The Royal Scottish Academy will be 200 years old next year (Image: Gordon Terris) As befits an august institution which continues to move with the times, the anniversary celebrations unveiled this week are ambitious and, importantly, take the RSA out of its gilded stone palace on the Mound and into venues across Scotland, such as Shetland, Skye, Aberdeen and Berwick-upon-Tweed – a cheeky act of cultural colonisation given that it's actually in England. But if none of that grabs you, I'm sure there will be another anniversary along behind it. Orkney's St Magnus Festival turns 50 next year and Glasgow's Kelvin Hall notches up its centenary in 2027. You can bet that somebody, somewhere already has a spreadsheet open – or a pencil over the back of a fag packet. Read more And finally The Herald's dance critic Mary Brennan continues her trawl through the best of the Dance International Glasgow mini-festival at Tramway with reviews of The Violet Hour, and Dance Is Not For Us and Bottoms, a double bill. The first is a new work by Scottish dancer and choreographer Colette Sadler, a multi-media piece built around three dancers and nodding to Greek myth. Dance Is Not For Us is solo show by Lebanese dancer Omar Rajeh while Bottoms, by migrant and disabled-led performance company Two Destination Language, brings five dancers to the stage – and a little mooning, which is what gives the piece its title. Elsewhere theatre critic Neil Cooper was at the King's Theatre in Glasgow for a touring production of satirical musical The Book Of Mormon and at the Traverse Theatre in Edinburgh for something completely different – Sylvia Dow's Blinded By The Light, which tells (and reflects upon) the story of the 1982 sit-in at Kinneil Colliery in Bo'ness. Finally music critic Keith Bruce was at St John's Kirk in Perth for a Perth Festival of the Arts performance by the 18-strong Ora Singers of unaccompanied vocals works ranging from Renaissance polyphony to Sir James MacMillan's Misere. Read our reviews
The Herald Scotland
25-05-2025
- Entertainment
- The Herald Scotland
The crisis 'slowing killing' the Edinburgh Festival Fringe
They have spoken out ahead of the launch of the official programme for the 2025 Fringe, which is expected to be boast one of the biggest line-ups of shows in the event's 78-year history. Read more: Leading figures have lifted the lid on the impact of soaring accommodation bills, infrastructure costs and city council permits on the festival, which has been valued at more than £200 million for Edinburgh's economy. There is also widespread anger over the prospect of concerts at Murrayfield Stadium, where Oasis and AC/DC are due to appear in August, clashing with the Fringe for the first time, while new city council restrictions on the short-term letting of properties are also said to have contributed to the costs crisis. The Edinburgh Festival Fringe has been running since 1947. (Image: Simfo) One venue operator warned the Fringe was walking a 'precarious tightrope' that was becoming more dangerous every year. The Herald has been told growing incentives are having to be offered to artists and companies to persuade them to take part in the Fringe, with many performers are said to be opting for shorter runs for their shows to try to keep their costs down. The Pleasance Courtyard is one of the most popular venues at the Edinburgh Festival Fringe. Picture: Supplied The new chief executive of the Edinburgh Festival Fringe Society, Tony Lankester, warned last month that the success of the event was being 'taken for granted.' Anthony Alderson, director of the Pleasance Theatre Trust, which has been running Fringe venues for more than 40 years, said: 'The risks and individual losses are now too great for artists and venues alike. The Fringe is walking a precarious tightrope that becomes more vulnerable year on year. We have to take action rather than putting our heads in the sand. 'The current model is a shared problem that we can only solve collectively with businesses and home-owners in the city. We have to do something to bring the cost of accommodation down. 'By having made it so expensive to be here during August, for visitors and performers alike, we are slowly killing the Fringe. 'The Fringe is walking a precarious tightrope that becomes more vulnerable year on year. We have to take action rather than putting our heads in the sand.' Producer James Seabright said: 'It is clear that many challenges face everyone involved in the world's biggest arts festival. 'All the city's summer festivals will wither on the vine if the city prices out visitors who normally travel to attend the Fringe.' Katy Koren, Gilded Balloon's artistic director said: 'The financial model of the Fringe isn't broken, but it is at risk of collapse. 'It has become a lot harder to persuade artists to come to the Fringe. Its value to artists is massively in doubt now and is more in doubt every year.' Producer Richard Jordan said: "I do think that 2025 could finally be the straw that breaks the camel's back."
