Festival funding

Your report (11 August) had me saying that "the case for the International Festival grows weaker and weaker". I'd like to contextualise and clarify this comment.

I'm not arguing against the principle and future of the International Festival. Far from it. It is a crucial part of the August festivals and should be cherished, not just for its history but for what it continues to give to Edinburgh and to the world.

My point was that if the funding cuts — which should be derided — proposed in England and Wales are replicated in Scotland and negatively impact the International Festival, then we should not get too worried about it - at least not in the context of the festivals.

The Fringe - the poor relation in terms of funding - is now well positioned to maintain many of the founding reasons for the International Festival. It may not produce work of the scale of its older sister but every year it creates quality shows which subsequently tour the world. Its international reputation keeps Edinburgh firmly ensconced as the festival city of the world.

It is a mass employer of people local to Edinburgh, and, most importantly, of young people, providing them not just with summer jobs but with a springboard to future careers. It is an international meeting place for creative industries. It delivers a significant economic impact to the city. Yet it is almost entirely privately funded.

I gave my remarks in an interview about producing a large-scale production at Edinburgh (and which transfers to London in September). I made the comment that the Fringe is a wonderfully benign place to produce such work. I did not ask for increased funding of the Fringe (yet… let me draw breath) but just that that benign environment is maintained by the government and public agencies. This is happening, the increased number of late trains from Edinburgh to Glasgow being a prime example. Please, let's keep it going. This support which so needs to be maintained need not be cost-generative to the public exchequers. However, with public support, the private funding can continue to deliver and grow this festival.

The glorious diversity of the Fringe and the EIF that Jonathan Mills and Kath Mainland have so articulately written about in these pages is to be applauded. I only suggested that if cuts impact the International Festival, the Fringe is there to help pick up the baton.

CHARLIE WOODS

Underbelly

Cowgate

Edinburgh