Today, Wednesday 12 June, the Edinburgh Festival Fringe Society is delighted to launch the official 2024 Edinburgh Festival Fringe programme. Once again, the programme celebrates the diverse selection of work at the Fringe, spanning genres and themes.

This year’s programme features work across 3317 shows, with themes tackling some of the most topical issues in the world today. From politics and current affairs to the environment; AI and technology to sport; LGBTQ+ and neurodiverse-led work to capitalism and the female experience; this year’s festival brings together performers from across the world, from homegrown Scottish talent to international artists travelling from near and far.

The Fringe is recognised as one of the most important cultural events on the planet, with performers from 58 countries appearing in Edinburgh this August.

Launching the 2024 Fringe programme, Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe Society, said: ‘Revealing the programme is such an exciting moment for everyone involved in the Fringe, and we encourage audiences to jump right in, book some things that you know you will love, and take a chance on something new.

‘The Fringe programme is bursting with every kind of performance, so whether you’re excited for theatre or cabaret, or the best of comedy, music, dance, children’s shows, magic or circus; get ready to unleash your Fringe this August and experience the creativity, excitement and passion artists bring to Edinburgh every year.’

‘Thank you to everyone who has a hand in making the Fringe happen. To artists, venues, workers, producers, technicians, promoters and support staff, we appreciate you and hope you have a fantastic Fringe.

“Thank you to Edinburgh’s local business community for your support; to Scotland’s residents who come out in their thousands, and to all audiences who keep the Fringe buzz alive by coming to see work. Bring on August!’

In this release

Climate and sustainability

Sport

Cooking and world heritage

The female experience

Neurodiversity and neurodiverse led works

Technology and AI

Capitalism

Family friendly shows

Wellbeing and mental health

NEW SHOW ADDITIONS

Some new shows have been added to the programme since the most recent batch was revealed on 09 May.

Join Macbeth for Bairns (Scottish Storytelling Centre, p 38)for an ‘immersive, sensory, theatrical version of Macbeth complete with bubbles’ or Cyrano (Traverse Theatre p 276) for ‘a big-hearted, irreverent rom-com for our times.’

Head to …and Jazz was born in Scotland… (The Jazz Bar p 198) to celebrate the ‘shared history between jazz and Scottish folk music’ or Ali Affleck presents: 1933 – Wild Women of the Prohibition (Argyle Cellar Bar p 197) to toast ’30 years of pioneering blues and hokum.’ Made in Scotland Gigs presented by Wide Days (La Belle Angele p 215) is the ‘perfect opportunity to connect with the Scottish music scene and get a snapshot of some of the best emerging talent.’

‘Where better to hear Robert Burns’ famous poem Address to a Haggis than at the Haggis Box Café in the Scottish Storytelling Centre!’ Drop into Address to a Haggis (Scottish Storytelling Centre p 242) ‘to hear a different surprise performer each day deliver a rousing rendition of Burns’ ode to the Great Chieftain o’ the Puddin-race.’

KEY THEMES

Climate change and sustainability

A recipient of the Keep it Fringe fund, FREAK OUT! (Pleasance Dome p 286) is a ‘multi-layered show tells the story of UK communities battling coastal erosion.’ In 45 Degrees of Perspiration (Laughing Horse @ Bar 50 p 46), Ben Harrington explores ‘complexities of climate change and promises to deliver a blend of clever observations, witty anecdotes and funny commentary,’ while Gracie and the Start of the End of the World (Again) (Assembly Roxy p 289) tells the story of ‘an immortal, nerdy, very horny jellyfish looking for love after the end of the world’.

Mother Nature (Greenside p 22) is ‘still pining for dinosaurs but crushing madly on mighty homosapiens’ while giving Planet Earth a pep talk, while ‘young people finding fragile hope in the face of an overwhelming threat’ in no one is coming to save us (Pleasance Courtyard p 312). ‘Hilarious, hopeful, and vaguely educational stand-up about hope, horror, hypocrisy and how to feel OK’ is at Stuart Goldsmith: Spoilers (A Climate Crisis Stand-Up Show) (Monkey Barrel Comedy p 158) and ‘the typical day of a California weather girl descends into a scorched earth catastrophe’ in Weather Girl (Summerhall p 338).

‘One guy attempts to perform 26,000 animals in under an hour’ at Vigil (ZOO Southside p 337) while Things We Will Miss (C Arts p 332) is a ‘meditation on the climate crisis’ exploring ‘the (potential) collapse of the Anthropocene.’ Three Scottish musicians present ‘music written to reflect the changes that are affecting wildlife’s natural habitats’ at Aardvark Trio – Wild Changes (The Jazz Bar p 195) and a ‘multimedia concert experience calling attention to the urgency of the climate crisis through original songs’ is told at The Seas Are Rising: Stories of a Climate in Crisis (Paradise in Augustines p 221).

Tania Kovats’ ongoing series SEAMARKS (Dovecot Studios p 193) is ‘multiple seascapes captured in brushstrokes, drawings and ceramics’. As part of Korean Season presented by AtoBiz Ltd, Sleeper (Assembly @ Dance Base p 180) creates ‘new perspectives on contemporary Korean traditional performing arts.’ Circus Baobab: Yé! (Underbelly’s Circus Hub on the Meadows p 172) showcases incredible acrobatics whilst bringing essential environmental issues to the forefront.

Sport

Join the ‘supercharged urban circus’ of ‘BMX, basketball, breakdancing, beatboxing, acrobatics and drumming’ at 360 ALLSTARS (Assembly Hall p 170). FUFC (theSpace p 286) is a ‘dark comedy and semi-autobiographical play dealing with the consequences of a life-changing moment of a diagnosis of cancer’.

Adam Riches: Jimmy (Summerhall p 257) tells the story of Jimmy Connors, one of the ‘greatest tennis players on Earth’ and his comeback after getting ‘annihilated at the US Open’, while Tennis (Zoo Southside p 180) is ‘an action-packed, poetic hunt for true fighter’s spirit’ at Wimbledon in 1980.

The Ghost of White Hart Lane (Underbelly Bristo Square p 287) tells the story of Spurs and Scotland star John White who was ‘one of the best footballers of the 1960s’ who was ‘was struck by lightning and killed at 27 years old’ and ‘Ismail, a British Indian schoolboy, attempts to secure his own cricketing glory’ in the summer of 2005 while England prepares to win the Ashes at Duck (Pleasance Courtyard p 281). Find out the answers to questions like ‘‘Did football originate in Scotland? Does Argentina owe all to the Gorbals? Was the first floodlight a searchlight? Did Scotland really ban women?’’ at ScotlandsFest: We Are Scottish Football – Julie McNeill (Gladstone’s Land p 253).

The Stand Comedy Club is host to In Conversations with Pat Nevin (p 248) ‘broadcaster, author, DJ’, Michael Stewart (p 248) ‘one of Scotland’s most renowned and controversial football pundits’ and Chick Young (p 248) ‘legendary Scottish TV/radio football pundit and journalist’.

Mythos: Ragnarok (Assembly p 311) is ‘Viking mythology performed by professional wrestlers’, while you can ‘grab a pint, pick a side’ and watch ‘the best team win’ at Wrestling with the Champ: Chortle Combat (PBH’s Free Fringe @ Globe Bar p 169) Keep it Fringe recipient Chokeslam (Assembly George’s Square p 273) is a knockout solo show about one woman’s love of pro wrestling.

Cooking and world heritage

Join ‘performance-maker and foodie Sean Wai Keung as he gets to the centre of that most enigmatic of after-meal snacks: the fortune cookie’ at A History of Fortune Cookies (Summerhall p 225) or head to My English Persian Kitchen (Traverse Theatre p 309) to see ‘the journey of one-woman’s quest to build a new life around cooking and food.’

Start your day at The Big Bite-Size Breakfast Show (Pleasance Courtyard p 267) with ‘brand-new, delicious, rotating “menus” of 10 to 15 minute comedies, eccentricities and dramas, served up with complimentary tea and coffee, croissants and strawberries.’ End it with ‘relaxing classical music by candlelight at Old Saint Paul’s Hot Chocolate at 10 (Old Saint Paul’s Church p 217) or ‘three hand-picked special drams paired with tasty tipsy treats of Scottish delicious canapes’ at Tipsy Midgie Midnight Treats (Tipsy Midgie p 188).

‘Taste each dish cooked before your eyes’ as Australia’s singing cook Michelle Pearson ‘serves up an evening of live music, cooking and comedy’ at Comfort Food Cabaret (Edinburgh New Town Cookery School p 17) or have Shakespeare for Breakfast (C theatre p 324) filled with ‘pentameter, puns and pastries.’

The female experience

A Fire Ignites (theSpace @ Surgeons’ Hall p 284)sees a ‘teenage girl in modern-day Iran’ ‘removing her hijab in public ‘and being ‘attacked by the morality police.’ Meanwhile, ‘a captivating tale of recovery from partner abuse’ is told in a boxing ring at Angry Snatch: A Reclamation Job in 15 Rounds (Port O’Leith Boxing Club p 171).

‘Inspired by a grandmother’s incarceration for seeking independence in 1960s Australia’, BATSHIT (Traverse Theatre p 265) is an ‘unexpectedly funny and deeply intimate story of female madness.’ With ‘original songs, music videos from her past and the inside scoop on scams and pedophiles’, hear how Devon tried to be a teen pop star in Devon Drew: Pop Star (ZOO Playground p 82).

Do Not Look Away: The Story of Medusa (Scottish Storytelling Centre p 280) is a ‘moving storytelling performance with live musical accompaniment’ while After Troy (theSpace @ Surgeons’ Hall p 258) asks ‘what can the fates of the women left behind’ after Troy falls ‘tell us about the survivors of conflict today?’

‘Ever wanted to know what really happens in the VIP room?’ Head to Ask A Stripper: No Holes Barred (Laughing Horse @ Dragonfly p 14). Meanwhile, A Girl Gets Naked In This (Bedlam Theatre p 287) features an all-women cast bringing a ’series of monologues about sex.’

Join Endometriosis as she takes you on a tour of the inside workings of Anna’s body at ENDHOE (Greenside @ George Street p 87). At Good Luck, Cathrine Frost! (Assembly George Square Studios p 289), hear ‘about the universal act of being born, and how Socrates ‘forgot’ to talk about it.’

When accused by her tech-bro fiancé of being ‘too emotional’, overachieving journalist Anya prepares a slide deck to save her relationship at Psychobitch (Summerhall p 318). PALS (Gilded Balloon Patter House p 314) is a Scottish adventure-comedy play featuring ‘four crude, chaotic yet completely normal gal pals as they embark on a camping trek in the west of Scotland.’

Neurodiversity and neurodiverse led works

A Day in the Life (Greenside @ Riddles Court p 245) is a ‘solo narrative navigating life with neurodiversity’ and Eccentrics Assemble – Guerilla Autistics Year 10 (Laughing Horse @ Bar 50 p 282) introduces ‘legendary outsiders like Emily Dickinson, Spike Milligan, Screaming Lord Sutch and Patricia Highsmith.’

‘Mind-reading and unbelievable trickery abound in this exploration of how autism and magic make anything possible’ in Naughty or Neurodiverse – Magic from Another Planet (theSpace on the Mile p 24). Keep it Fringe recipient NeuroChatter (theSpace @ Surgeons’ Hall p 311) sees ‘one actor taking on the role of three alter-egos in this tragi-comic psychodrama: Mike, an eccentric, scatter-brained academic in training; Elliott, a defensive yet laid-back aspiring artist; and Host, the reluctant, vulnerable core-self hiding beneath.’

Arielle Dundas: Hyperactivity Disorder (Just the Tonic at The Caves p 61) is ‘relatable for people with ADHD’, ‘informative for people without it’ and ‘hilarious for everyone.’ Baby Belle: Young, Dumb and Full of Autism (Greenside @ George Street p 15) is a ‘musical exploration of social versus personal identity from the perspective of a late-identified and diagnosed non-binary autistic person.’ Driver’s Seat: Obsessive Compulsive Disaster (theSpace @ Surgeons’ Hall p 281) is a ‘twisted ride through OCD, an epic break-up, major breakdown, coming out and (just possibly) learning to drive.’

Joe Wells – Daddy Autism (PBH’s Free Fringe @ Banshee Labyrinth p 107) is a ‘show about wanting to be an autistic dad’ while Josephine Lacey: Autism Mama (Pleasance Courtyard p 108) is exploring a mother helping her autistic son through puberty.

Technology and AI

Transhumanist (Assembly @ Dance Base p 181) is a ‘duet between two male dancers who unfold in an alluring universe where the boundaries between artificial and human nature dissolve’ while Long Distance (A Cyber-Dialectic of Falling In and Out) (ZOO Playground p 303) watches two boys fall in love ‘through an exchange of texts over one year.’

Influenced (Greenside @ Riddles Court p 296) follows ‘the rise to power of an insecure YouTuber. In his struggle with truth, trust and toxic masculinity, what will he do with his new empire?’ Meanwhile, in Do You Know What Comes Next? (The Stand Comedy Club 5 & 6 p 245) explores that ‘by 2050, nearly 2.5 billion people will be impacted by hearing loss’ and ‘reveals how your brain processes and predicts conversations to help develop the hearing aids of the future.’

As part of Korean Season, You & It: The Musical (Assembly Checkpoint p 241) tells a ‘beautiful and sad love story about a human husband and his wife, who dies and come back as AI.’ In Picasso 2033 (C ARTS | C venues | C aquila p 316), ‘dive into a future where AI dominates art, and explore the essence of creativity and identity amidst technology’s tide.’

It’s 225 years ‘After Download’ in Away Went the World (theSpace @ Venue45 p 263) and ‘Sarah lives in OutpostCaanan, apart from the AI-dominated Overworld. When a strange girl arrives in her community, Sarah must decide: protect those she loves, or trust what she cannot understand.’ In Mitch Benn: The World’s Cleverest Idiot (Underbelly, Bristo Square p 129), Mitch considers how artificial intelligence is no match for good ol’ organic stupidity, and (from experience) how actual intelligence can’t save you from being unbelievably cretinous…’

Capitalism

It’s the Economy, Stupid! (Pleasance Dome p 297) attempts to ‘uncover how the economy wins elections, and why the force that dominates our lives is so bloody complicated’ while ‘a team of young co-workers try and get through their day whilst navigating a broken system’ in Badger (theSpace on the Mile p 264). Gamble (Summerhall p 286) is ‘a glittering, glamorous peek into the spectacular world of online gambling’ and explores ‘addiction and its effect on families, friends and communities.’

‘Learn how to outmanoeuvre your colleagues with an obnoxious LinkedIn profile, a passive-aggressive email and the phrase ‘circle back’’ at Wankernomics: As Per My Last Email (Pleasance Courtyard p 166). Meanwhile Art of Selling Out (Greenside @ Riddles Court p 61) will teach you how to ‘sell out your Fringe show in an immersive pyramid scheme parody paired with a side of manipulation and capitalism.’

‘The remnants of Liverpool stand as a testament to the neglect of the UK in dystopian fantasy’ Hoarderz (theSpace @ Niddry St p 292) and ‘America is on fire’ in Maggie Chavez: Letters from America (Laughing Horse @ Downstairs at Betty’s p 121), a ‘hilarious dissection of the American condition.’

Family friendly shows

A Bee Story (Assembly George Square Gardens p 31) is a ‘unique physical theatre show for children and families’ telling the story of ‘Queen Bee and Worker Bee who must rebuild their hive together, while a professional violinist and cellist performs ‘familiar classical melodies and tells a musical version of The Gingerbread Man’ at Wriggle Around the World (Stockbridge Church p 41).

Join Absolute Improv! (theSpace on the Mile p 50) for ‘spontaneously sparkling family-friendly performances never seen before, and never to be seen again’ or solve a murder mystery at A Brief Case (Laughing Horse @ The Three Sisters p 69), with ‘family-friendly fun for everyone, from nursery to nursing homes’.

Uh Oh Spaghetti-Oh! (Pleasance Courtyard p 41) features ‘tracks with catchy lyrics and easy dance moves that celebrate childhood, promising fun and laughter for all’. In both Italian and English, ‘servants Pasta and Pizza are tasked by their master with bringing Commedia dell’Arte masks to life’ in Masquerade Mask (C ARTS | C venues | C aquila p 307).

Knight, Knight (Underbelly, George Square p 114) is a ‘wild romp through a medieval world you thought you knew.’ At The Secret Room at Lauriston Castle (Lauriston Castle p 25), you can ‘travel back in time to a world of clandestine laboratories, hidden passages and secret rooms…’

Puppet Zoo Adventure! (PBH’s Free Fringe @ Little Plaza p 39) blends ‘laughter and learning’ in a show where ‘animals come to life’, and if you’re ‘tired of grown-ups being know-it-alls’ and want to win prizes, head to The Kids Always Win (Gilded Balloon Patter House p 37), a ‘game show where the kids always win.’

Wellbeing and mental health

300 Paintings (Summerhall p 257) ‘examines 300 paintings created during a five-month long manic bipolar episode’, ‘exploring art, mental health and creativity’ while The Funny Thing About A Panic Attack (ZOO Playground p 246) uses ‘theatre, dance and poetry reading to reveal the connections between mental health, art and pancakes.’

Lost in Wonder (Nicolson Square Park p 186) is an ‘immersive experience of storytelling and spirituality for passers-by to explore’ where you’ll find ‘a moment of connection, encounter and creative meaning-making in the midst of the busy city.’

‘Mentally unwell man Alastair Clark’ takes the hypothesis ‘comedy is therapy’ to ‘its logical conclusion’ in Alastair Clark: And Then He Turned the Fun on Himself (PBH’s Free Fringe @ Slow Progress Cafe and Records p 52), while ‘a man attempts to map aspects of his mental health through perhaps the worst medium possible: poetry’ in Reflections Upon an Ugly Little Soul (Greenside @ George Street p 319).

Love Your Work (Greenside @ George Street p 176) brings ‘the love of minds and the medium of dance together to open conversations on mental health and wellbeing.’

NEW AND INTERESTING VENUES

As always, shows are popping up in unique and surprising spaces around Edinburgh and beyond during August. You’re Needy (sounds frustrating) (Buccleuch Terrace p 342) takes place in a bathtub and is for an audience of one, exploring ‘a woman’s retreat from everyday life in pursuit of peace, solitude and ‘wellness’. The Bookbinder (Buccleuch Terrace p 268) ‘weaves shadow-play, paper-art, puppetry and music’ in an atmospheric bookshop.

As well as their new year-round home Hootanannies @ Home Street, Hootenannies have introduced yurts, hosting over 30 shows, including Suchandrika Chakrabarti: Doomscrolling (p 159) with Suchandrika trying to ‘explain chronically-online era to her niece (5), a ‘soothsaying laundry hag, a doe-eyed starlet and the mob’s dry-cleaner’ in Ozzy Algar: Speed Queen (Work in Progress) (p 136)and Femme Fatigue (p 87), one woman’s story living with chronic fatigue.

C alto is a new venue for C Arts at the Quaker Meeting House. Pleasance have introduced a new space, Grotowski Institute at Pleasance at EICC for three shows including Nobody Meets Nobody, ‘a physical theatre of emotions’ (p 312).

The Hibernian Supporters Club, local Edinburgh social club, joins the Fringe as a venue, hosting Athens of The North (p 263), ‘an episodic, interwoven monologue and love letter to the city of Edinburgh’. Mad Dogs and an Englishman, a comedy show about dog training (p 120), takes place in a new venue over in Portobello, The Wash House.

The two musicals Deacon Brodie, about ‘real-life drama in a shadowy world’ (p 230)and FLESH, the ‘real-life drama of Burke and Hare, Scotland’s first serial killers, with a comic twist and original folk rock songs’ (p 232) both take place in new venue The Mackenzie Building.

PBH’s Free Fringe @ Little Plaza is a new space for children’s shows in a year round play café.

No. 11 Boutique Hotel & Brasserie is a new venue near Easter Road, offering both A Cup of Tea with George Eliot (p 275) and an exhibition on Pigeon Poo (p 192).

FAMOUS FACES

Miriam Margolyes visits Edinburgh with her new show Margolyes & Dickens: The Best Bits (Pleasance at EICC p 306) performing Charles Dickens’ most iconic characters. Adam Kay: Undoctored (Edinburgh Playhouse p 51), the ‘bestselling show of 2023’, returns for one night only.

‘In this election year, only one comedian can kill the mood even further’ in this work-in-progress Nish Kumar: Nish, Don’t Kill My Vibe (Work-in-Progress) (Monkey Barrel Comedy p 133). Joanne McNally is back in Edinburgh with Joanne McNally: Work in Progress (Assembly George Square Studios p 106) after her ‘sold-out global tour with of Prosecco Express.’

‘Fumbling a flute on Would I Lie to You, combusting over a Cork accent on Radio 5 Live, scaring the Traitors’ Diane with a T-shirt of her face’, join Ivo for more at Ivo Graham: Grand Designs (Pleasance Courtyard p 102). Paul Merton and Suki Webster’s Improv Show (Pleasance Courtyard p 138) is an ‘hour of fast, fabulously funny improvised games, scenes, stories and laugh-out-loud surrealism from two masters of comedy improvisation and special guests.’

David O’Doherty: Ready, Steady, David O’Doherty (Assembly George Square p 81) has ‘written a new megaconcert of talking and songs’ while Dara Ó Briain: My Entire Life is a Work In Progress (Work in Progress) (Assembly Rooms p 80) has his ‘first Edinburgh run since 2005, as he prepares for his next global tour.’

Hannah Gadsby is back at the Fringe ‘for the first time since 2017, when they won the Edinburgh Comedy Award (and an Emmy)’ with Hannah Gadsby: Woof! (Underbelly, Bristo Square p 95). ‘After getting a dog, and her dog coming on heat, a series of strange events started to happen in Grace’s life’, leading to Grace Campbell Is On Heat (Gilded Balloon at the Museum p 94).

‘Flippant and fabulous’, ‘wicked sharp and delightfully silly’, ‘gender non-conforming and genre non-conforming’, ALOK makes a return to the Fringe with ALOK (Underbelly, Bristo Square p 56). As seen on I Think You Should Leave with Tim Robinson, Shrill, and The Lost City, Patti Harrison returns to Edinburgh with Patti Harrison: My Huge Tits Huge Because They Are Infected NOT FAKE (Pleasance Courtyard p 136).

After a sold-out run at the Fringe in 2023, Ru Paul’s Drag Race UK’s Lawrence Chaney’s back with Lawrence Chaney – From Holyrood to Hollywood (Saint Stephen’s Theatre p 116). As seen on RuPaul’s Drag Race Down Under, Taskmaster Australia and Netflix, Rhys Nicholson brings a ‘brand-new, hour-long, stand-up comedy concert’ with Rhys Nicholson: Huge Big Party Congratulations! (Underbelly, Bristo Square p 144).

Lucy Porter: No Regrets (Just the Tonic at The Caves p 119) is ‘a well-known TV face (Live at the Apollo, QI), a much-loved radio voice and Celebrity Mastermind Champion of Champions.’ Nina Conti: Whose Face Is It Anyway? (Pleasance Courtyard p 133) ‘delves deep into who we are, hijacking faces to spark a hysterical reality warp.’

Come join comedian Sara Pascoe at Sara Pascoe: I Am A Strange Gloop (WIP) (Monkey Barrel Comedy p 148) as she ‘reconsiders and reconstructs herself after having two babies and very little sleep’ or join Rosie Jones as she ‘ponders whether she is a national treasure, a little prick, or somewhere in between’ at Rosie Jones: Triple Threat (Pleasance Courtyard p 147). At Sue Perkins: A Piece of Work in Progress (Pleasance Courtyard p 159), Sue tells us she ‘is a mess, but because she wears glasses and uses adverbs, people are fooled into thinking she’s together.’

Live podcasts at the Fringe this year include Nish Kumar’s and Coco Khan’s ‘weekly political podcast’ Pod Save the UK – Live! (Monkey Barrel Comedy p 140), No Such Thing As A Fish (Edinburgh Playhouse p 134) celebrating 10 years of podcasting, the live comedy podcasting phenomenon The Guilty Feminist (Gilded Balloon at the Museum p 95) and The Political Party With Matt Forde (Gilded Balloon at the Museum p 141).

CREATING A BUZZ

Drop Dead Gorgeous: A New Musical (Work-in-Progress Concert Series) (Pleasance Dome p 230) ‘based on the cult-classic film’ features an original score written and performed by Riki Lindhome (Netflix’s Wednesday).

Fringe First Winner Apphia Campbell returns with Through the Mud (Summerhall p 333), ‘two generations of women activists in the struggle for black liberation in America.’ Winner of Best Newcomer, Edinburgh Comedy Awards 2023 Urooj Ashfaq is back with Urooj Ashfaq: It’s Funny To Me (Work in Progress) (Assembly Roxy p 165).

Fringe sell-out show 2022 and 2023, The Kaye Hole Hosted by Reuben Kaye (Assembly George Square Gardens p 21), is back and is ‘queer, messy and f*cking hilarious. The hottest late-night ticket in town.’ Rob Madge’s sell-out, award-winning show Rob Madge: My Son’s a Queer (But What Can You Do) (Underbelly, Bristo Square p 321) returns to Edinburgh Fringe. Join Rob as ‘they set out to recreate their childhood Disney Parade – and nobody is gonna rain on it.’

FREE AND PAY WHAT YOU CAN/WANT SHOWS

There are 354 free shows and 577 Pay What You Can/Want shows in this year’s programme.

10,000 Digits of Pi (PBH’s Free Fringe @ Banshee Labyrinth p 47) ‘blurs the line between audience and performer, and makes you wonder if it’s a play or even a comedy show altogether’ while Comedy Cluedo (Laughing Horse @ Eastside p 75) audiences are ‘guided through Lucy’s personal version of classic murder-mystery game, Cluedo, to uncover the clues and jokes to solve the crime’.

‘Imagine an Englishman, an Irishman and a Scotsman finally in the same bar as a therapist’ and you have Five Mugs, No Tea (Leith Depot p 89). Join Juliette on a ‘journey from cosplay to confidence’ at Juliette Burton: Going Rogue (Laughing Horse @ The Counting House p 109). Steffan Alun and Support: Free Stand-Up, but at What Cost (PBH’s Free Fringe @ Banshee Labyrinth p 157) is Steffan ‘working through his latest identity crisis the only way he knows how – with 40 minutes of excellent free comedy.’

Go to Off With Your Head! (Laughing Horse @ 32 Below p 134) for a show that’s ‘part comedy, part improv, part video game and part choose-your-own-adventure’ or learn about ‘rare, historical, often beautiful and sometimes funny’ ancient coins at Ancient Coins of Forgotten Kingdoms (PBH’s Free Fringe @ Burrito ‘n’ Shake p 31).

THANKS TO SUPPORTERS AND PARTNERS

The Fringe Society are grateful to their wonderful sponsors Johnnie Walker Princes Street, TikTok, Cirrus Logic, Innis & Gunn, Playbill, JetBlue, Indeed Flex, and Edinburgh Gin.

The Fringe Society are grateful to the UK Government and the Department for Culture, Media and Sport for their funding for the Keep it Fringe Fund and their generous support of the new home for the Fringe Society.

They are grateful for funding through the PlaCE Programme, a partnership between the Scottish Government – through Creative Scotland – the City of Edinburgh Council and Festivals Edinburgh; and to the Scottish Government for Made in Scotland through the Festivals Expo Fund – managed through Creative Scotland.

Many thanks to EventScotland and City of Edinburgh Council for their support of Fringe street events, and to Crowdfunder for supporting artist and venue crowdfunding.

Thanks to Screen Scotland for their support of Screen Fringe, and Bloomberg Connects for their partnership in creating a new digital guide, sharing the history and stories of the festival.

Their thanks also to Fringe Patrons, Friends, the Northwood Charitable Trust, and donors.

The Fringe Society would also like to thank accommodation partners who provide much needed affordable accommodation to artists – Queen Margaret University, the University of Edinburgh, Theatre Digs Booker, Heriot-Watt University and Napier University. Health in Mind are also returning in 2024 to support the delivery of mental health and wellbeing services within Fringe Central. Thanks also to those who provide support in many other ways, including Virgin Hotel Edinburgh and the Kimpton Hotel Edinburgh.

This year, the Fringe Society are delighted to welcome Edinburgh International Film Festival to the Fringe community, in a partnership that will showcase their world-class programme of cinema across the city – including in Fringe venues – and allow audiences to experience work from the Fringe and Film festivals side-by-side.

KEEP IT FRINGE

Supported by £1 million from the Department for Culture, Media and Sport (DCMS) over two years (2024 and 2025), the Fringe Society is supporting 180 recipients of £2,500 bursaries this year. The fund received 749 applications, which were reviewed by 30 independent assessors.

This year’s recipients reflect the diversity and variety that makes up the Fringe. Work covers a range of subjects from immigration to fake news and imposter syndrome to séances, ADHD diagnoses to fortune cookies, and sibling dynamics to addiction, with companies and artists covering nearly every genre in the Fringe programme. Representing a mix of free and ticketed shows, 41% of the successful applicants identify as disabled or have a health condition, and more than one in three come from a working-class background. Read more about the Keep it Fringe recipients this year: Keep it Fringe fund 2024: recipients announced | Edinburgh Festival Fringe (edfringe.com)

FRINGE CENTRAL

Fringe Central this year is at the Grassmarket Centre, 86 Candlemaker Row, in partnership with the Grassmarket Community Project. Fringe Central is a fully accessible and inclusive space for Fringe artists, arts industry and media, open between 10:00 and 17:00, seven days a week. This space is for anyone, and everyone involved with the festival.

Artists can access Fringe Society services and take advantage of local mental health charity Health in Mind’s mental health and wellbeing support. Services will include one-hour person-centred support sessions, tailored to the artist’s needs, providing an opportunity to explore any difficulties artists are having while performing at the Fringe.

Industry and media can access Fringe Society ticketing and accreditation services, and meet with Arts Industry and Media teams, while benefitting from a quiet place to work.

The Fringe Society will be hosting a programme of participant-focused events, including discussions of topics relevant to the sector and social/networking meetups, such as workshops on touring, networking, pitching, social media marketing. Read more about the 2024 Fringe Central programme here: Fringe Central events programme 2024.pdf (hubspotusercontent-eu1.net)

STREET EVENTS

The world-famous Fringe street events will take place in their usual home of the High Street and the Mound, and feature international street performers and buskers, mingling with Fringe artists and other festival favourites to provide a fun and varied family-friendly experience. With thanks to Unique Events, who will manage the Mound street events area. The street events will run daily from 02–26 August – you can find out more, including daily listings for street performers and how you can take part, at Fringe street events | Edinburgh Festival Fringe (edfringe.com).

Street performances interpreted in British Sign Language will take place on 11,17and 22 August in West Parliament Square. For a comprehensive list of BSL interpreted, captioned, audio described and relaxed performances on offer at the Fringe, please visit Accessible shows | Edinburgh Festival Fringe (edfringe.com)

Through the Community Stage, there will be performance opportunities for schools and community groups from Edinburgh and the Lothians on a Fringe stage on the High Street on 22 and 23 August. Contact: communities@edfringe.com

COMMUNITY ENGAGEMENT AND ACCESS

The Fringe Days Out programme continues for its sixth year with 37 long-term community partners, including four new partnerships for 2024. The scheme provides Fringe vouchers, bus tickets and additional support to people in Edinburgh who may not otherwise have the opportunity to experience the festival. Since 2017, there have been 16,000 Fringe visits through Fringe Days Out. Find out more: Fringe Days Out returns in 2024 to help Edinburgh communities engage with the Fringe | Edinburgh Festival Fringe (edfringe.com)

Local communities will have the opportunity to enjoy Fringe at… events, running from July to August. Three events will take place with participating organisations: Broomhouse Street Party, Valley Park Community Centre and another to be announced.

Through Community Ticketing Initiative (CTI), participating Fringe artists and companies generously donate free tickets for people in and around Edinburgh who might not otherwise have the opportunity to attend the festival. Each year, more than 50,000 shows donate tickets. We are incredibly appreciative to these artists. Find out more: Community ticketing initiative (CTI) | Edinburgh Festival Fringe (edfringe.com)

The Fringe Society remains committed to improving access to the Fringe. Through a number of projects, the ambition is to ensure the Edinburgh Festival Fringe is as accessible to as many people as possible.

The Communities and Schools resource guide highlights shows selected based on themes submitted by schools and community groups, as well as recommendations from third-party organisations. The guide has been designed by a graduate of Edinburgh College’s HND Design course and will be available on edfringe.com later this month. Contact learning@edfringe.com for more information.
Sensory resources will be available again for Fringe audiences and artists. They include a range of sensory tools, such as fidget tools, earplugs and sunglasses. Fringe Central will have a supply for artists, and we will provide a supply at the Relaxed Meet the Media event. Resources can also be pre-ordered and delivered before the Fringe via a form on our website which goes live on June 19.
The Fringe Society are hiring four captioning units, and giving to three venues: Summerhall, Scottish Storytelling Centre and Assembly. An additional unit is available to borrow from the Fringe Society for any Fringe artist. We have webinars on the basics of captioning, and we are providing fourteen shows with a captioner. Captioning software is available to all artists. Find out more about the 2024 captioning offer.
Two audio description units are available to borrow from the Fringe Society, and we are hosting an audio description webinar in partnership with the Audio Description Association Scotland. Find out more about the 2024 audio description offer.

60% of Fringe shows in the 2024 programme are accessible to wheelchair users, with 158 Fringe venue spaces currently accessible to wheelchair users.

For more information please visit

https://www.edfringe.com/experience/how-to-plan/access-at-the-fringe

LEARNING

After the success of previous years, the Fringe Society is supporting local schools and teachers to experience the Fringe. This includes our Fringe Days Out – Schools work, which supports three Edinburgh secondary schools: Gracemount High School, Tynecastle High School and St Augustine’s RC High School.

Eight young people from these Fringe Days Out schools have spent the past eighteen months in the pilot project of the Young Fringe Ambassadors. They have been introduced to Fringe venues, learnt about programming, had a session with Artist Services, seen shows at the Fringe, met with creative professionals in a speed networking session, and are now attending monthly workshops at Edinburgh College exploring various aspects of performing arts. Work shadowing opportunities taking place in Fringe venues and events during August.

Schools in North Edinburgh can apply for up to £400 to spend on seeing shows at the Fringe or inviting Fringe artists into their school through the Fringe Be Inspired fund.

Find out more: Schools call-out: apply for the Fringe Be Inspired Fund | Edinburgh Festival Fringe (edfringe.com)

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Edinburgh Festival Fringe 2024 programme launched