The Scotsman 11 January 2022

This time last year, the lockdown forced Edinburgh‘ s Manipulate festival to go online. For Dawn Taylor, who was making her debut as artistic director, that was hardly ideal. But the switch had two positive consequences.

The first was simply about numbers. People logged on from 39 countries and audience numbers doubled. That’s an audience she is determined to keep.

The second was about who watched what. In the past, this self-styled “celebration of innovative puppetry, visual theatre and animated film” has attracted two distinct audiences. There are those with an interest in live performance and those who are drawn to animation. When the programme went digital, the line between the two became blurred. [READ MORE]

By Mark Fisher

MARK FISHER is a freelance theatre critic and feature writer based in Edinburgh and has written about theatre in Scotland since the late-1980s. He is a theatre critic for The Guardian, a former editor of The List magazine and a frequent contributor to the Scotsman and other publications. He is the co-editor of the play anthology Made in Scotland (1995), and the author of The Edinburgh Fringe Survival Guide (2012) and How to Write About Theatre (2015) – all Bloomsbury Methuen Drama. He is also the editor of The XTC Bumper Book of Fun for Boys and Girls and What Do You Call That Noise? An XTC Discovery Book (both Mark Fisher Ltd).