As the 2024 Royal Edinburgh Military Tattoo drew to a close after running from August 2nd to 24th, we spoke with Harry Guthrie (HGEP), who has overseen the production of the event for the last three years.

“In my role as production director, I thrive on the thrill of orchestrating the creative and technical elements that bring this iconic event to life. It’s all about collaboration—wrangling a diverse array of stakeholders, guiding our creative and technical teams, and maintaining seamless communication throughout every phase of the event. I believe these elements are vital in achieving our ambitious creative vision while successfully meeting logistical and technical targets.

Under the HG Event Production banner, we also provide the stage management and show calling team. From the beginning of the setup, we supervise everything from the build and rehearsals to the show runs, while also advising on the technical integration with the outside broadcast teams that partner with Livewire Pictures to capture the performance for BBC One that aired during the August Bank Holiday.

Over the past three summers, we have demonstrated the necessity of closely integrating technical and creative processes. While I'm responsible for scheduling and coordinating the various departments, I also manage the budget for all production and creative elements. Like any project, balancing resources with creative aspirations can be particularly challenging and this is especially true for the Tattoo given the event's status as a charity, but we continually strive to elevate both the creative and technical standards.

With just under a week to rehearse 20 acts, our full technical rehearsal opportunities are limited by the Castle's operating hours. The team is restricted to the Esplanade from 6 PM to 11 PM although we do also conduct off-site rehearsals. This year's event featured over 850 performers. On show days, we manage a fleet of 20+ buses transporting everyone to the site. The time frame between the Castle closing and the audience's arrival is very tight, requiring precise timing for transportation. Logistics also involve safely managing the cast offsite whilst we’re also looking to exit the nightly audience of 8500+.

Significant changes implemented over the last few years have elevated the show’s production values. The absence of a dedicated showcaller or stage manager is unusual for an event of this scale; however, by adding these roles, we have greatly improved the show running and rehearsal processes, leading to both elevated performances and cost efficiencies.

Our suppliers include Neg Earth, which provides lighting designed by Woodroffe Bassett Design, while Solotech fulfils the sound requirements specified by Scott Willsallen and the Auditoria team. Kate Dawkin's projection vision comes to life through Creative Technology, which expertly displays a stunning 6K canvas over Edinburgh Castle. Additionally, Event FX supplies the show's special effects under the direction of Owain White.

Our relentless focus on enhancing the technical elements ensures that they remain sympathetic to the music and action but also elevate the performances to new heights. After three years with a consistent, unified team, the benefits are becoming increasingly clear. Our shift from traditional fireworks to pyrotechnics was driven by environmental considerations and safety, leading to a significant reduction in our carbon footprint. This year, we achieved a 40% decrease in carbon emissions compared to last year. With improved sound capture techniques and year on year advances in performer tracking technology, we can spatially reinforce and track the military musicians, delivering a richer, more cohesive sound experience for our audience.

Looking ahead to 2025, we are already diving into creative and technical planning with our new creative director, Alan Lane. We're excitedly exploring fresh ways to utilise the performance space, enhance production efficiencies in act management and rehearsals, and we hope to create something truly special.”

Photo credit - Cris Mathews