Spotlight on Laura Mackenzie Stuart

Tell us a little bit about yourself and your career

Creative Scotland is the national funder for the arts, screen and creative industries in Scotland – one of the four UK arts councils and similar to a Ministry of Culture in other countries. As Head of Theatre, I and my team support artists living and working in Scotland to develop their ideas, provide support to bring them to life and ensure that work reaches the widest possible audience both within Scotland and, in many cases, internationally. Before this job, I was a theatre producer / programmer and an agent for international theatre & dance, touring work world-wide.  And back in the mists of time I was Deputy Director of the Edinburgh Festival Fringe.  Having been brought up in Luxembourg there is internationalism baked into my DNA!

Could you share insights into how your company's funding priorities have evolved in the post- pandemic era, particularly concerning projects and initiatives it supports?

I think we are only beginning to understand the scale of permanent change which Covid triggered. But in the immediate aftermath, and the implosion of theatre finances brought about by enforced venue closures our top priority was to help steady the ship for individuals and organisations.  This included emergency one-off funding.  Now, the on-going volatility of production costs and pressures on fundraising are creating their own and more persistent challenges. 

In Scotland / UK around 75% of the creative workforce is freelance, and support for individual artists feels more important than ever.  We are seeing major changes in the way people choose to make and present work.  Individuals can respond more flexibly and quickly to ideas and opportunities.  Our project funding (available both to individual applicants and constituted companies) is deliberately open in its creative focus which has particularly benefited multi and inter-disciplinary artists.

One area of work which got a boost from Covid restrictions was outdoor work.  Many of our theatres have outdoor space which had previously never been used for artistic purposes.  I think it simply hadn’t occurred to them that this was an option. But with closed buildings, there was a real opportunity to programme differently and develop knowledge and skills within venue teams.  It is a genuine pleasure to see how this work is now being incorporated into current and future programming plans.

With many funding organizations retracting from international engagement due to various factors, is this a consideration for Creative Scotland and if so, how might it impact your funding strategies moving forward?

Scotland is a small country (pop. 5.5m) and we have a rich history of international engagement. Our latest Strategic Framework promotes International as one of our 6 priorities.  We recognise the delight which fresh ideas, perspectives, stories and voices bring to audiences.  And for artists, creative collaborations and access to an extended market-place may be vital to ensure a sustainable creative career or business.

Internationally, Scotland is probably best known for its festivals which have always relied on international participation, evident from the first Edinburgh International Festival now 78 years ago.  

But new ways are also developing.  Use of technology as a creative medium and as a way of amplifying international connection is now commonplace.  This also responds to our growing need to adopt more climate friendly ways of working.  A tension which sits at the heart of international collaboration is how to simultaneously meet our obligations to the planet while also protecting the uniqueness of in-person relationship building.  The fact that International is prioritised within our Strategy, gives me comfort that time, space and budget are understood to be vital in getting this right.

Considering the Edinburgh Festival's global reach and significance, could you elaborate on why supporting such internationally focused events "locally" is a strategy/priority for Creative Scotland?

As will be familiar to many ISPA members, festivals play a huge role in raising the profile of artists and productions.  This is certainly true of Edinburgh in August where 4 festivals take place simultaneously:  The Edinburgh International Festival; the Edinburgh Fringe; the Edinburgh International Book Festival; and the Edinburgh Art Festival.  We are particularly fortunate that, perhaps due to scale and history, artists in Scotland are able to attract a remarkable range of international collaborators, and that those festivals provide a rich source of content for international programmers and presenters.  Careers can be made by just one amazing connection.

I also believe that festivals play a big role in inspiring those who are yet to become our future artists. All the Edinburgh Festivals have programmes aimed at children and young people, and although not scientifically proven, there is no doubt that audiences are more adventurous within a festival context and likely to take a risk on what shows they will attend.  These are often the moments which stand out as pivotal in taking a decision to pursue a creative career.  For Creative Scotland, success is a creative sector enlivened by the diversity of those who create and present work here.  And the international friends we make in doing so!