Musician Continues Fringe Shows After Instrument Theft

The music and the moment

A Japanese musician who cancelled performances at the Edinburgh Festival Fringe after her treasured instruments were stolen has decided to go ahead with her final shows.

A Japanese musician who cancelled performances at the Edinburgh Festival Fringe after her treasured instruments were stolen has decided to go ahead with her final shows. Sachie Mikawa said she was "heartbroken" when her trumpet, gifted to her by her late father, and her vintage melodica went missing from the Rotunda Theatre earlier this week. She scrapped her biggest-selling nights but later decided the show must go on, telling the BBC: "It has been really horrible but what I need right now is a really good vibe." The theatre said the items were stolen on Monday along with other items of tech, including six laptops and an iPad. Mikawa said: "I decided to do the three shows left because I&#x27ve already lost so much money and momentum by cancelling three shows but I feel better knowing I&#x27ve done everything I could to locate the trumpet. "The stolen trumpet, Mikawa said, was one of the only items to survive when her family lost everything in the Tōhoku earthquake in 2011. The 9.0-magnitude earthquake caused a devastating tsunami, which produced waves up to 132ft (40m) high. Since the theft, Mikawa has bought a new melodica from a music shop to allow her comedy show to continue - but has cut the act that involved the trumpet as she has not been able to locate one in time. A melodica is a handheld instrument played by blowing air into a reed, which is attached to a keyboard. "I used to have a vintage melodica, which is beautiful and sounded different, but it is really hard to find so I just bought a new melodica," she added. Image source, Sachie Mikawa Image caption, Mikawa inherited her instruments from her father who died last year The musician and performer said the loss of the instruments was another blow during an already difficult week. She had hoped the Fringe would be a fresh start after both her parents died within a year of each other. "I felt so horrible and I was crying," Mikawa said. "The death of your parents is really sad but when someone took my trumpet it felt worse because I still felt like I had something to remember my dad by." A police spokesperson said: "We have received a report of theft from the Lauriston Place area of Edinburgh which is believed to have taken place overnight from Monday, 10 August into Tuesday, 11 August. Inquiries are ongoing."

The core event involves a Japanese musician, Sachie Mikawa, who experienced a significant disruption when treasured instruments were stolen from the Rotunda Theatre. This theft directly impacted her plans for the Edinburgh Festival Fringe. The musician initially faced the dilemma of cancelling shows due to the loss and potential financial impact, but ultimately chose to continue with the remaining performances. This decision underscores the tension between personal loss and the commitment to artistic performance in a public setting.

The musician initially cancelled some shows due to the loss, but ultimately decided to proceed with the remaining performances, hoping the positive energy of the festival would help her.

The musician decided to proceed with performances at the Edinburgh Festival Fringe after her treasured instruments were stolen from the Rotunda Theatre. She cancelled some shows but decided to keep others.

The items were stolen on Monday, August 10th, and the musician made her decision regarding the shows following this event.

The theft occurred at the Rotunda Theatre in Edinburgh, and the subsequent decision regarding performances relates to the Edinburgh Festival Fringe.

A Japanese musician, Sachie Mikawa, was involved in the incident, and police were involved in the investigation.

The incident highlights the obstacles artists face, such as loss of valuable personal property, and the resilience required to continue artistic expression amidst hardship.

It has been really horrible but what I need right now is a really good vibe.

I decided to do the three shows left because I&#x27ve already lost so much money and momentum by cancelling three shows but I feel better knowing I&#x27ve done everything I could to locate the trumpet.

Additional context

The decision by the musician to proceed with her performances at the Edinburgh Festival Fringe, despite the emotional toll and material loss, illustrates a complex negotiation between personal grief and professional obligation. This choice suggests a profound capacity for resilience, where the desire to maintain artistic momentum overrides immediate distress. The context of the theft—which included not only musical instruments but also technology like laptops and an iPad—suggests that the disruption extended beyond mere financial loss into the very tools necessary for modern performance and promotion. This situation forces an examination of what constitutes true artistic security when external factors, such as theft, intersect with deeply personal history, as evidenced by the musician’s reference to surviving the 2011 Tōhoku earthquake. Furthermore, the narrative surrounding this event touches upon broader themes concerning the vulnerability of artists in the public sphere and the role of cultural institutions in protecting artistic assets. The police investigation into the theft from the Lauriston Place area of Edinburgh, spanning from August 10th to August 11th, provides a tangible timeline for the physical loss, yet the emotional aftermath remains largely personal. This incident serves as a stark reminder that for many artists, their tools are not just objects but anchors to their identity and legacy; their absence creates a vacuum that must be filled through sheer will. The subsequent purchase of a replacement melodica, while a practical step toward continuity, also highlights the ongoing struggle to replace irreplaceable sentimental value with tangible substitutes. This situation warrants further consideration regarding the security protocols for valuable cultural property within performance venues and the support systems available to artists facing such crises. While the police are pursuing leads, the focus shifts to how the arts community can better support performers navigating these unpredictable challenges. The resilience displayed by the musician in choosing to perform underscores the enduring power of creative expression, even when confronted by significant adversity, prompting reflection on the societal structures that should safeguard artistic endeavors.