Since 1906, the King’s Theatre, ‘The Grand Old Lady of Leven Street’ has provided a critical venue for the performing arts in Edinburgh, and the wider region. She is closing now for some much needed renovation, for which the marvellous Capital Theatres Group (owners of the King’s) managed to raise a remarkably £26 million to finance. Due to global events far outside anyone’s control: inflation, global conflict, and ‘changing trading agreements’ the costs of this necessary work have risen between 20% and 30%.
As things stand, due to other obligations, this funding gap must be accounted for within the next 35 days in order for the work to be given the go-ahead. The alternative will likely mean the doors to this beloved institution closing forever, or worse, being handed over to a faceless, non-locally owned corporation.
This cannot be allowed.
In the ecosystem of Edinburgh Theatre, the King’s occupies a unique place. At 1350 seats, the Kings sits alone as the city’s only ‘medium’ sized, professionally equipped and run theatre. Less than half the capacity of the gargantuan Playhouse, but many times that of the Lyceum or Traverse, it is the best — and often only — venue for a raft of compact, high production value professional productions, as well as the always-popular offerings from the city’s major amateur companies.
Losing the King’s for even a couple of years for renovation will be a hardship. In the immediate future for example, Edinburgh will miss out on touring productions of The Lavender Hill Mob, and Death Drop: Back in the Habit simply for lack of a suitable, available venue. Maybe neither of those is your cup of tea, but this is the ecosystem which keeps playwrights from Oscar Wilde to Emma Rice on a local stage for your viewing pleasure.
Amateur companies from Southern Light, to the Edinburgh Gilbert and Sullivan Society confident of a profitable show each year in the King’s will have to decide between trying to sell many hundreds more tickets to break even, or greatly scaling back their ambitions, and their club bank balances.
The King’s is also a living part of the city’s history, the foundation stone having been laid by Andrew Carnegie, before hosts of beloved stars of stage and screen entertained audiences in the century and more to follow. This survivor of two world wars, simply cannot be allowed to fall into ruin. The King’s Panto (relocated to the Festival Theatre hopefully temporarily), was born in 1906, and is a genuinely beloved, and storied Edinburgh institution. The QR loves The Festival Theatre, but the grand elevation and expanse of both stage and auditorium whilst perfect for Ballet, Opera, Musicals and BIG theatre undeniably alters the feel of the Panto. Bathed in the history, intimacy and community feel of the King’s, both performer and ticket holder partake in long tradition, and a glorious symbiosis.
Capital Theatres are seeking to future proof the building for generations to come, and to expand its place within its local community. Accessibility is at the heart of the plans, so that folks with additional support needs need not worry about being able to enjoy their night out. There will also be a new on-street café, flexible bar spaces, a creative engagement suite and a permanent heritage exhibition. In short the King’s will be a better venue for the arts, and a thriving hub for all in its local community.
So if you value the performing arts, and you recognise the value of this wonderful Edinburgh institution, please write to your local councillors, your MP, and take to whatever channels available to encourage our public bodies, and fabulously wealthy private interests, to provide more support. In a country (the UK) where there was limitless cash to throw at dodgy PPE contracts, it’s simply unbelievable that the resources cannot be found. So please, make some noise, and make sure that The Grand Old Lady of Leven Street sails onto a glorious future for all our benefit.
It’s still possible to make personal donations to the King’s Renovation fund, here.
Easily write to your elected representatives via We Write to Them, here.
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