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SEEN AND HEARD INTERVIEW
The Sunday Times recently described the Edinburgh
International Festival as a “jewel in the nation’s artistic crown”. Who could
disagree? Now well into its seventh decade the International Festival and its
companions continue to grow and look to be in spectacular health. From the looks
of the latest programme, released in March, the festival seems to be defying
many of the economic trends that have bedevilled other major arts organisations.
Much of the credit for that must go to EIF Director, Jonathan Mills. 2010 is the
fourth festival that Mills has planned and he met me in his office, high above
Edinburgh’s Old Town, to discuss some of the ideas and themes that have gone
into it.
Edinburgh International Festival 2010:
Festival Director Jonathan Mills in conversation with Simon Thompson (SRT)
Jonathan Mills - Picture © Mark Hamilton
Mills’ appointment surprised many when it was announced in 2006 but the success
of his recent festivals has silenced criticism. Last year’s EIF was not only
delivered within budget but saw an increase of 7% in earned income and attracted
£2.58 million in box office sales with nearly 400,000 tickets sold throughout
the three weeks of events. When I began by asking Mills what role he felt the
Edinburgh International Festival has to play in the cultural world of the 21st
century, it was clear that he has a strong sense of fulfilling an important role
that began long ago.
“The broad inspiration that I’m following is to have a public conversation with
people as to what an international festival might mean in today’s world. When
this festival came along in 1947 it fulfilled a very intense but very specific
need. Europe was reeling from the after-effects of a shocking war, from the
lunacy of atrocities like Leningrad and Auschwitz, and therefore it was very
clear what a festival of the arts might do in terms of repairing our
understanding of different cultures within Europe and connecting us to other
parts of Europe, and appealing more generally to the better angels of our souls.
But the world is very different today and we’re not fighting, at least in
Europe, a devastating global war. It’s our privilege to live in a relatively
peaceful and prosperous part of the world, and therefore I was wondering out
loud what an international festival might mean to Europeans in today’s world as
we confront so many challenges of identity, diversity, immigration – challenges
of our place in the world in the very broadest sense. And I’m beginning to argue
through these programmes that there is as much importance behind an
international festival today as there was in 1947. Today we owe it to that
legacy and its achievements not to take for granted what we have received from
the past. In today’s world there is just as much for us to argue about as there
might have been in 1947.”
One of the things that has made Mills’ tenure so distinctive from that of his
predecessor Brian McMaster is his determination to organise his festivals around
themes: past themes include Words and Music (2007), Artists Without Borders
(2008) and Enlightenments (2009). I asked him why the use of themes was so
important to him. “What I’m trying to do with the festivals I have done to date
is to shift the centre of gravity away from an automatic assumption that they
will be exclusively or predominantly European. That’s not to suggest that
Edinburgh will ever, on one level, be other than a European festival, by virtue
of the fact that it’s in Europe, but I’m suggesting that it can serve as an
important component of cultural understanding and exchange within the UK and
Europe more generally and can reach out to cultures that are far beyond the
geography of Europe itself. So this year is part of a continuum or cycle of
works that I am undertaking which very gradually shifts our centre of gravity
away from an automatic reliance on Europe, and I hope that we will have alighted
on cultures that are far beyond our European sensibility and philosophy in order
to give us a broader understanding of the human condition. The challenges that
we face here in the UK reverberate in other parts of the world too, just as the
challenges and pressures that other parts of the world experience reverberate
here.
“So I think that there is a really important role for this strange entity that
we call in international festival because I think that it is both a convenient
and intense way of people gaining a greater understanding of ideas, attitudes
and philosophies that are remote from their own. To do this through the arts is
a rare privilege.”
Big aims, then, but wouldn’t all of this apply just as well to the Melbourne
Festival, which Mills used to direct, or is there something special about
Edinburgh? “Edinburgh is a city that is very motivated by a sense of its own
philosophy and role in the development of contemporary innovations, whether that
is Charles Darwin, Adam Smith or David Hume. There is a very strong sense of
intellectual and artistic traditions here which I’m seeking to tap into. I think
a thematic approach is appropriate in terms of the intellectual, artistic,
scientific and economic provenance of this city and its institutions, its
galleries, its public spaces and so forth. But also I think it’s a very easy way
of making it clear that what you’re doing is not a one-off series of events but
is in fact an argument in favour of the Festival itself. I would argue
that there is a difference between a theatre season or an orchestral
subscription season and a Festival. In choosing a different journey to pursue
every year I hope that we encourage people to think about that.”
Excitingly, Mills suggests that the Festivals he has programmed are part of a
cycle which is building towards a culmination. He has recently extended his
contract so that he will still be in the job for the 2012 Festival when the
world’s biggest arts festival will run just up the road from the world’s biggest
sports festival, the London Olympics. But he’s remaining tight-lipped about what
that culmination might be. “Watch this space”, he tells me.
This year’s theme, New Worlds, takes us in perhaps the most obvious way so far
away from a focus on Europe and towards the far off. What inspired him to put
together the programme this year? “The very deepest motivation behind this
programme is that it is part of a continuum whereby we are quite deliberately
shifting our centre of gravity away from the idea that this festival is
automatically a European festival. In doing that, particularly in the geographic
focus of this year, we are putting a frame around a very different region of the
world, places with very different histories from our own in Europe, places that
share a very curious history with Europe, particularly in the colonial
dimension. Examining these places through the arts can illuminate our view of
this small planet.”
So how does this year’s theme of New Worlds play out in practice? “At the same
time, while I have attempted to argue that this Festival need not be so
Eurocentric, I haven’t attempted to do so in a nationalistic way by saying, for
example, ‘This year we’re focusing on China, next year on or Iceland or
Romania.’ Instead I’ve tried to construct a more multi-faceted approach to the
theme underpinning each festival journey. This year I’ve said that I’m
interested in looking at a particular region, not a single country, and an idea
of how that relationship between worlds might express itself from both
positions.”
This theme allows Mills to showcase a number of extraordinary talents from the
New World, such as the Minnesota and Cleveland Orchestras from the US, or the
Sydney Symphony Orchestra from Australia, not to mention some exciting dance
groups from Brazil, San Francisco and Samoa/New Zealand. However it is in the
works chosen that the theme becomes most interesting. The most benevolent look
at the new world from the old is probably Puccini’s Faniculla del West,
though the spectre of colonialism raises its head in works like Purcell’s
Indian Queen. Hemmingway gives us the reverse perspective in Elevator
Repair Service’s theatrical take on The Sun Also Rises, while a group
of modern American musical legends give a new take on Sophocles in The
Gospel at Colonus. Mills singles out Carl Heinrich Graun’s opera
Montezuma as a good example: “It’s a very European treatment of an opera
about a very challenging moment in European and Mexican history, that of the
clash of civilizations between colonial Spain and vanquished Mexico, through the
interpretation of an 18th Century German composer and his librettist,
Frederick the Great of Prussia, who clearly had his own motivation in thinking
about the context in which his libretto would be written and understood. In
inviting Claudio Valdés Kuri, a very distinguished young Mexican director, to
engage with this project, I was very conscious that he would bring an entirely
different set of attributes and attitudes to bear on this production. You have a
cast that is half European and half Mexican, and an ensemble of European
instruments performed under the direction of an Argentinean Baroque specialist,
Gabriele Garrido. Embedded in the circumstances of the performance is a whole
history of individual ideas, attitudes and histories that can amplify and
challenge the story itself. So I’m actively looking for various illustrations
and reverberations about the theme without setting it in stone too quickly too
soon.
“Another example of that is the National Theatre of Scotland’s production of
Caledonia, a new work by Alistair Beaton, which explores a very particular
period of Scottish History, the Darien Scheme. A buccaneer, charlatan investor
who would have made Bernie Madoff look tame, raised an extraordinary amount of
money to establish a Scottish colony near present-day Panama. It was a disaster,
falling victim to lack of resources, appalling personal tragedy and terrible bad
luck, and it ended in disease, famine and grotesque underestimation of the needs
for establishing the colony. Everyone lost their money and, perhaps in the
ultimate twist of irony, it was a contributing factor to the establishment of
the Royal Bank of Scotland.”
A further distinctive aspect of Mills’ festivals is that under his tenure
Edinburgh is seeing a lot more new work, either new commissions or work that has
been planned in conjunction with overseas organisations. Caledonia is
one example, as is Brett Dean’s new opera Bliss which opened last month
in Sydney. However, when I ask him about the risks involved in bringing unseen
work to Edinburgh, he turns the question around: “What risks are there when you
take no risks? If everything is all the same all the time then that in itself
becomes a risk. Festivals ought not so much to be preoccupied with the risk of
one show and the safety of another, but in a very coherent, consistent way to
develop a compelling narrative for why they are taking a particular course of
action. If you do that then the question of an individual risk here or there is
a secondary concern to how a particular project is contributing to a public
conversation.”
Under Mills’ tenure the festival has continued to bring world class musicians
and ensembles to Edinburgh. Guest orchestras this year include the Russian
National, Finnish Radio Symphony and Royal Concertgebouw orchestras, while
soloists like Simon Keenlyside and Steven Osborne and groups like the Pavel Haas
Quartet play in the smaller venue of the Queen’s Hall. I ask Mills how he
manages to bring such stellar line-ups year after year: “It’s always
challenging, but artists across the world have a strong ambition to participate
in the Edinburgh Festival and that helps a lot. That’s more than half the battle
won in terms of winning people’s emotional connection. It’s the same for every
artist in every genre in the festival. People want to be part of this festival
because they’ve heard about it, they’ve experienced it, it’s of a scale that
makes people excited. Also because of the audiences that it draws from across
the world and the attention it is given by various media. But I would also like
to think that it’s the legacy of the past: the fact that during the hardships of
1947 people still found their way to this festival and they recognised that
something very vital and essential was going on, something that stood in stark
contrast to the experiences of the previous five or six years. This festival was
a beacon of optimism at a time when our world seemed sorely lacking in any
optimism for its future.”
Ambitions of this scale clearly cost money, and Mills has said plainly that this
year’s festival is on a secure financial footing, so I asked him how the recent
credit crunch and recession have affected the institution. “That’s not a
question that’s easy to answer. We’re on the verge of knowing a lot more about
precisely those issues, but at the moment that is territory we are just entering
into. Many mainstream economic and political commentators talked about the
financial challenges coming in waves: the first wave affected the financial
services sector exclusively, then that has washed over into other parts of the
economy. The full force of that tsunami hasn’t yet been felt in the arts: the
robust nature of our ticket sales is evidence of that, and sponsorship and
donations, albeit in different proportions, are nevertheless holding up well.
What we will be facing into the future is anyone’s guess. Into that future the
arguments I need to be using are more about the economic and social benefits,
the financial returns that not only this festival but the whole portfolio of
Edinburgh’s festivals can provide to the economy and social life of the UK. It’s
a false economy to suggest that taking money away from the festival will solve
the fundamental challenges facing the economy today: giving a pound to me means
I turn it into five or six! Reducing that by a pound means that that multiplying
effect will itself be reduced. The arts are never a massive part of any kind of
economic rectification because we don’t cost a lot in comparison to, say,
education, health or defence. We represent extremely good value, yet there are
some people who certainly think that the arts are an optional extra. In pure
economic terms we can demonstrate how we return a direct and indirect benefit to
the societies and communities in which we operate.”
Mills is optimistic about the general cultural health of the UK, but remains
critical of the way the media tell that story. “In cultural terms there is
nothing wrong with what is happening on the ground in the UK: it’s inspiring,
diverse, it’s fantastic! But the stories we choose to tell about each other are
very selective, very distorted and, I believe, tell a much less rich and more
selfish story than the one that could and should be told. I’m not going to sit
back and suggest that I should buy into that same argument. I’m suggesting that
the media should stop and pause for a moment and think about what is valuable
rather than simply glibly filling a column inch here or there in a facile or
simplistic way.”
At the end of our discussion, however, he was keen to stress that “a festival is
not a place just for over-intellectual discourse: it’s a place for a great deal
of fun, of spontaneity and exuberance. You should bring your sun-tan lotion to
the Edinburgh Festival this year because there’s going to be a lot of heat
generated, even indoors in our theatres. There’s going to be a lot of creativity
and a lot of inspiration to be gathered from the cultures we have brought
together in this very diverse, appealing, differently textured and coloured
festival: a festival that explores a remarkable journey from rainforests to
coastline, from vast oceans to intimate imaginative territories. We have an
extraordinary array of creative ideas on display in Edinburgh this year, so come
and experience for yourself all of the visceral, physical raw energy: the
dancers from Brazil, the choreographers and Shaman from New Zealand, the
musicians and novelists from Australia, the theatre-makers and writers from the
US, the musicians from Mexico... There is an incredibly rich, sexy story to be
told, one which is very immediately vibrant, and I can’t wait for August to come
so the Festival can begin.”
The Edinburgh International Festival 2010 runs from Friday 13th
August to Sunday 5th September. Full details of the programme can be
found at
www.eif.co.uk. Public booking is now open.
For our preview of the Festival see
here.
Simon Thompson