The Stage

Edinburgh International Festival unveils 63rd programme

Published Wednesday 25 March 2009 at 10:30 by Thom Dibdin

World premieres of new works from the Traverse Theatre and Scottish Ballet are among the highlights of the programme of the 63rd Edinburgh International Festival, which was launched in the Scottish capital today.

In choosing the 75 productions for his third festival as EIF director, Jonathan Mills has taken the Scottish Enlightenment as his main theme, while including nods to the many classical composer anniversaries which are being celebrated this year - as well as Scotland’s year of Homecoming.

“The Enlightenment for me, very personally, is a point of departure only,” Mills explained to The Stage. “It is a phrase I am using both metaphorically and quite literally. So I am searching for things that have been enlightening from Scotland and I am recognising the enlightenment as a movement that was able to be created here.”

A representation of pre-enlightenment times comes from the Traverse co-production, The Last Witch. An EIF commission written by Rona Munro it is directed by Dominic Hill, who Mills sought out after seeing his award winning Peer Gynt at Dundee Rep, and is based on the historical account of the last woman to executed for witchcraft in Scotland.

If the inclusion of one staged and two concert performances of Handel operas in the programme will provoke few comments, the same cannot be said for the opening concert, which features Handel’s oratorio, Judas Maccabaeus.

Premiered in 1747, the work which is best known for the chorus “See, the conquering hero comes”, was Hanovarian propaganda. Thomas Morrell’s words celebrate the Duke of Cumberland’s victory over Scottish rebels at Culloden - a sympathy which is unlikely to sit well with the Homecoming element of the festival.

Modern interpretations of Enlightenment themes are present in the 11-strong theatre programme. In particular, Optimism is Tom Wright’s take on Voltaire’s Candide for Malthouse Melbourne, while Silviu Purcarete freely adapts Goethe in her big scale, promenade production of Faust to be staged at the Highland Showground at Ingliston.

Although there are only four productions in the dance programme, these include the return of Scots-born Michael Clark to the Festival for the first time in 20 years. His new work takes the trinity of late 1970s rockers, David Bowie, Iggy Pop and Lou Reed as its creative starting point.

Scottish Ballet, the only one of Scotland’s national companies to be represented in this year’s programme, present a programme which sees the world premiere of Ian Spink’s new version of Petrushka, alongside works by Ashton and Forsythe.

The launch comes as the first financial difficulties become apparent at this August’s Edinburgh festivals, with the announcement that the If.comedy Awards has lost its sponsor.

Mills, however, was in bullish mood, pointing to increased public sector funding to over £5 million, earned income from sponsorship running at £2.15 million - a 20% increase on last year’s total - and an expected upturn in oversees visitors thanks to the downturn in the pound.

Speaking of programme, he told The Stage: “I think it is distinctive. This is a festival you could not create anywhere else but this city because it is a celebration of this city in its most glorious dimensions.”

EIF runs from August 14 to September 6.

http://www.eif.co.uk