To whom it may concern: As the 2024 Edinburgh Festival Fringe comes to a close, an open letter from SHONA McCARTHY, Chief Executive of the Edinburgh Festival Fringe Society
As the curtain falls on the 2024 Festival Fringe, much is being discussed in the spaces, rooms, cafes, and streets of Edinburgh, on the success of this year.
Today it was announced that 2.6 million tickets were issued during the 2024 Fringe, however there is no doubt that the current environment for artists across the UK is of great concern; and the fragility of the performing arts community is palpable.
An outward veneer of success cannot mask the struggle for artists to emerge let alone thrive in the UK right now. While Fringe 2024 has been brilliant, and it is to be celebrated that artists, companies, venues, producers and promoters took huge financial risks and pieced it together and put on the show.
However, the dominant message as we close this year’s festival is that there is no Fringe without art. There is no art without artists.
The cumulative effect of the relentless rise in the cost of everything, and an unhelpful policy environment facing the arts sector has resulted in widespread concern that is keenly felt by artists.
From the availability of affordable accommodation, blunt policy changes which have consequences for major events, to continuous public sector cuts; we need to ensure that the hard won and fragile success isn’t met with complacency by those who can influence change.
It is not enough to have old stories of how important Edinburgh’s festivals were in providing healing and connection after the Second World War. They are important now, contributing hugely to health, well-being, joy and job creation.
The Edinburgh Fringe vision is to give anyone a stage and everyone a seat. That is a commitment to inclusion, to freedom of expression and to being allowed to try and to fail. It is a vision that is increasingly easier to say than it is to do.
I have worked in the arts across the UK for 35 years now, and in the last two decades there has been a journey away from elitism, monoculturalism and exclusion with inspiring developments in access to the arts for all, with still a long way to go.
If the UK continues on an upward trajectory of cuts to arts education, and Scotland continues to decimate investment in the sector, breaking promises of support; then we are on a direct course to job losses, exclusion and boring art that is only the privilege of those who can afford to be part of it, as performers or as audiences.
Here at the Fringe and across the UK, the pipeline of creative potential is under threat. Artistic risk and ambition is hamstrung by an operating context that squeezes out emerging artists that have made the Fringe globally renowned, unique and joyful.
How can the Edinburgh Fringe remain exemplary, exciting, experimental; the only place in the world to be every August? As the most influential arts marketplace in the world, this year over 1,800 arts industry accredited with the Fringe Society, and came to Edinburgh to seek new work for onward touring and broadcast opportunities. Nearly 900 accredited media reviewed shows, interviewed artists and worked tirelessly to support the 3,746 shows that took place this year.
There is no future for the Fringe without art. There isno art without artists. Artists and the venues who host them are at the heart of this event, and there would be no Fringe without them.
They take the risk of bringing work to the festival every year, and while the arts landscape is at a crossroads, we need to ensure that the Fringe, one of the greatest celebrations of arts and culture in the world, is protected for the future.
As we celebrate the hundreds of thousands of people who have been moved, delighted, awed, shocked and entertained by the stories artists present across Fringe stages, it feels that now, more than ever, we must not take artists for granted; we would do so at our peril.
SHONA McCARTHY,
Chief Executive of the Edinburgh Festival Fringe Society
Care Home Residents Enjoy The 3rd Annual Fringe Cares Festival
2024 Fringe Cares Festival – conceived by The Edinburgh Interfaith Association back in 2023 – started once again with a very successful event at Queen’s Manor Care Home on Queensferry Road.
Performers from all over the world take part in the Fringe Cares Festival which brings a taste of the musical & theatrical talents of the Edinburgh Festival Fringe to all residents of 7 care homes in the city, in a partnership sponsored by Barchester Healthcare, The Edinburgh Interfaith Association, Scottish Care and the Edinburgh Festival Fringe Society.
Queens Manor Care Home, the founding care home Residents, relatives, friends and staff – along with several guests from the local community, were able to participate in a full afternoon of entertainment.
Lord Provost Councillor Robert Aldridge attended and said, “This is my favourite part of the Fringe!”
The event included a piper on arrival, drinks canapes and cocktails. Street performer Andie Mars with her impressive hula hoops displays, forget me Nots Children’s’ Parties provided face painting and visiting Princess Ariel. Matthew Shiel, award winning classical pianist played in the foyer.
The main act – “Ella, Etta and Eartha”, singer Melissa Western and her accompanists rounded off the show in a performance inspired by those legendary female singers.
Professor Joe Goldblatt, who inspired and instigated the Fringe Cares Festival explained: “The first year my wife and I sponsored one performer and I was amazed when residents who had not spoken for months suddenly burst forth into song, in French, when a Fringe performer began to sing the Edith Piaf classic ‘La vie en rose’.
“As they sang along, I was speechless and in awe of the power of musical memories to inspire their strong positive emotions and awaken their senses. The events of this year so far at Queens Manor were no less than spectacular – offering the same level of amazement that we had in our founding year!”
Margaret-Ann Davidson, General Manager of Queens Manor in Edinburgh, said: “I am delighted the Queens Manor Team is able to support our residents to participate in such an exciting initiative, which has grown each year; and we are proud to be part of Barchester Healthcare, the founding sponsor for this special programme.
“Music, entertainment, time with loved ones and friends are key elements of life enrichment for all care home residents. In years gone by the Edinburgh International Festival and the Fringe would have been part of the lives of many of those in our care.
“Through the Fringe Cares Festival, we are able to bring a flavour of the excitement, fun, and delights of the Festival Fringe to our residents at home. The long-term aim of this project is to help ensure that all care home residents in Edinburgh have access to the Fringe Cares Festival in the next 10 years – regardless of care provider.
“There are many other entertainers participating at the other 6 care homes. We look forward to the feedback and photographs”.
The executive director of the Edinburgh Interfaith Association, Iain Stewart said: “EIFA is very proud to have conceived this programme as part of our commitment to bringing people together to celebrate, communicate, and appreciate one another through music.
“The 36-year-old EIFA is the oldest interfaith association and represents all faiths and none promoting respect, understanding, peace and love.
The Fringe Cares Festival at Barchester dramatically demonstrates that we may all come together and benefit through music”.
We are already looking at inspiration and planning for this event in 2025 – if you would like to be involved or become a sponsor, please reach out to either Joe Goldblatt at joe@joegoldblatt.scot or margaretann-davidson@barchester.com.
Edinburgh local attends her 18th Fringe Festival after seven decades of performing arts
A CELEBRATED 77-year-old performer is marking a milestone as she gears up for her 18th appearance at the Edinburgh Fringe Festival, proving that passion for the arts knows no age.
Elizabeth Frances Dell, fondly known as Lyzzie, has been captivating audiences since she was seven.
Now at 77, she continues to shine, delighting thousands of art lovers annually as a dedicated member of the Edinburgh People’s Theatre.
Despite facing a stroke five years ago, Lyzzie has remained undeterred, continuing to audition and perform.
The former teacher and nurse is set to showcase her talents in the Scottish comedy ‘Ne’er the Twain’ at this year’s Fringe Festival.
Reflecting on her journey, Lyzzie said: “I went to the Stage School of Dance when I was seven and that was when I first started getting involved in the arts, from tap dancing and singing to pantomime and Scots comedy, but I truly love all forms of theatre.
“It must have been about 2006 when I started going to the Fringe shows. Even when I’m not on stage, I’m involved in some capacity.
“I really don’t know how many auditions I’ve done because they’re not always successful and you have to accept that. The director knows who would be best for the play, and it’s about fitting in with the whole picture. So, I’m quite happy.
“If I don’t get the part, I’ll do front of house, backstage, or anything else. It’s the teamwork that makes a play work.”
Her latest production Ne’er the Twain – an historical comedy about the amalgamation of Leith and Edinburgh – is running throughout the Fringe at Mayfield Salisbury Church.
Lyzzie said: “It takes place when Edinburgh is going to be amalgamated with Leith and of course Leith didn’t want it, and I learned the history from this.
“When Edinburgh wanted Leith to join up, there was a referendum in Leith and the Leithers just said, ‘absolutely no chance.’ However, Westminster overruled and that is how Leith became part of Edinburgh
“I play Nellie, she’s the old auntie in it and she’s got wee bit secrets to her bow, but she’s a bit of a rogue.”
Lyzzie also puts on regular community performances from shows for the homeless to routines in numerous churches, as well as outdoor performances such as the Edinburgh Easter Play with Cutting Edge Theatre.
None more so benefit from the Edinburgh local’s creativity than the tenants at Hanover Scotland’s Roseburn Court, where Lyzzie has lived for more than 17 years – making her the development’s longest residing tenant.
Lyzzie added: “I’ve been here 17 and a half years, and truthfully, I didn’t want to come at first, but it was the right thing to do. It’s a lovely place to live and I look right onto Roseburn Park and it’s just a nice place to be.
“I’m very lucky to be here. Anytime I have needed help they’ve been tremendously supportive. That’s part of the joy of living here knowing that if anything happens, I will get help and my family doesn’t need to worry. It takes the worry off their shoulders. It’s lovely.
“They have also allowed me to embrace my creative spirit, I help put on regular performances for the other tenants that live here and it really does create a closeknit community.”
Lyzzie hopes that she can continue entertaining people on the stage in whatever capacity she can. She said: “As long as somebody wants me, I’ll do it.
“Whether I am out there performing or helping with props or costumes I just love being involved and putting on a show. Drama is just a very special place to be, it’s just full of amazing characters.”
Hanover Scotland, a pioneering non-profit organisation founded in 1979, empowers independence by providing safe and secure social housing, enabling residents to live fulfilling, independent lives.
With more than 4,500 homes throughout Scotland, Hanover Scotland supports older adults in vibrant local communities.
Guided by values of respect, accountability, collaboration, and inclusion, Hanover Scotland continues to provide excellent, affordable, and modern housing services to meet the diverse needs of its tenants.
The Veterans Comedy Club is heading to the Edinburgh Festival Fringe with a run of shows from sell-out stand-up comedians who are bonded by a unique camaraderie born from their past.
The Veterans Comedy Club, a newly formed community interest company (CIC), is a group of Armed Forces veterans who have completed the Royal British Legion’s ‘Recovery Through Comedy’ initiative. This programme sought to build resilience and confidence in Armed Forces veterans who had faced serious adversity, such as being physically injured through their service, or as sufferers of PTSD.
This was achieved through a stand-up comedy training programme, where the veterans, under the tutelage of comedy superstar Janice Connolly (also known for her award-winning comedy character Mrs Barbara Nice), morphed their personal experiences into stand-up comedy routines.
The culmination of the course was a three-day run of sell-out shows at last year’s Fringe at Lady Haig’s Poppy Factory, where disabled veterans make Remembrance symbols all year round.
Inspired by their personal transformation, the veterans founded The Veterans Comedy Club with the aim of producing more courses like the one that changed their lives. To raise awareness, they are returning to the Edinburgh Fringe for five more shows this year. From 13-15 August, they will once again be performing at Lady Haig’s Poppy Factory, which is situated on Logie Green Road in Edinburgh.
Commenting on this announcement, Director of The Veterans Comedy Club, Jane Britton, said:“We are thrilled to be returning to the Edinburgh Fringe this year for a string of performances. This is an opportunity for our comedians to continue their self-growth, and to raise awareness of the transformative qualities of stand-up comedy.
“The support from Fringe-goers last year was phenomenal, and we hope that by waiving any ticket cost, we can command similar audience sizes to last year. Through our great new show, we also aim to gain support for our aims as a CIC and raise funds through donations.
“But what’s most important is that we get the message out there, that stand-up comedy can have an inspirational impact on the mental and physical wellbeing of veterans, their families, and anyone else who may have experienced some level of trauma.
“We are a new and small organisation with the aim of making a big difference. We hope that the tremendous Scottish public will join us for an hour of laughter and camaraderie that we genuinely don’t believe you will find elsewhere.”
Charlie Pelling, Manager of Lady Haig’s Poppy Factory, and a former officer in the Royal Tank Regiment, commented:“We are delighted to be welcoming the newly formed Veterans Comedy Club to Lady Haig’s Poppy Factory. I was in awe of the wit and humour of last year’s shows, and we are excited to catch up with the comedians and hear their new material.
“At Lady Haig’s Poppy Factory, we work hard throughout the year to provide Scotland and large parts of the rest of the UK with Wreaths and other Remembrance symbols, and to manufacture all items for the Scottish Poppy Appeal come November. But we always enjoy hosting events for key partners, especially those who are on a journey to make a difference.
“We look forward to welcoming members of the public to these shows and to continuing our close relationship with The Veterans Comedy Club.”
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!’
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.’
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.
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.
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.’
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.’
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.
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…’
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.’
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.’
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.’
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 Fringeas 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).
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).
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.’
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).
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.
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)
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
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.
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.
Audiences: start longlisting and booking early to support artists and #UnleashYourFringe
Today, Thursday 04 April 2024, a new batch of shows to be staged at the 2024 Edinburgh Festival Fringe has been revealed. All shows will be available to view on edfringe.com from 12:00 today.
The 1,373 shows span many genres of the Fringe programme, including cabaret and variety; children’s shows; comedy; dance, physical theatre and circus; music; musicals and opera; spoken word; and theatre. They join the 274 shows revealed previously, resulting in a total of 1,647 shows so far.
More shows are set to be announced on Thursday 09 May, while the official programme launch will take place on Wednesday 12 June.
Audience members are encouraged to start compiling their favourite shows and booking early to support artists, using the hashtag #UnleashYourFringe in the run-up to this year’s festival.
Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe Society, said: “It’s super exciting when a new batch of shows gets announced – you can really feel the momentum gathering as August gets closer and closer! I can’t wait to get stuck in and add some more shows to my favourites list – and to book a few in, just in case they sell out.”
“Artists are the backbone of this festival and they’re at the heart of everything we do at the Fringe Society.
“Booking tickets in advance, adding free and unticketed shows to your favourites list, giving shout-outs to artists and companies on social media using #UnleashYourFringe – these are things that Fringe audiences can do to show some essential early support and boost morale for the artists they love.
“So if your fave is coming to Edinburgh, or if a show tackles an issue that’s close to your heart, get it locked in now!”
Below is a small representative sample of shows available to book from today. The full list of shows so far can be found at edfringe.com from 12:00:
Cabaret
Yes-Ya-Yebo! at Laughing Horse is ‘an all-singing, all-dancing extravaganza celebrating South Africa’s 12 official languages, sprinkled with that incredible township vibe’. Meanwhile, audiences are invited to ‘indulge in the hottest pop-up cabaret experience on Cowgate with a rotating selection of the most electrifying and scandalous performers at the festival’ in Big Gay Afterparty at Just the Tonic.
La Clique brings its ‘breathtaking, hilarious, sexy, dangerous and iconic’ mix of circus, cabaret and comedy back to Underbelly with two shows, the traditional main event and a family-friendly Sideshow. At Eve, ‘the award-winning comedy trio Bad Clowns’ present ‘a night of the best comedy acts from this year’s festival’ in Bad Clowns and Good Friends. And The Burlesque Show at Hill Street Theatre is ‘a competition with a brilliant prize that will satisfy the experienced as well as the novice burlesque watcher’.
‘Award-winning magician’ Dan Bastianelli returns with an all-new evening of close-up magic’ in Deception at Paradise Green. German magician Thomas W Kuenstner ‘combines applied psychology, storytelling and old-school conjuring to generate original mysteries’ in Truth. Lies. And Other Illusions at the Arthur Conan Doyle Centre. Caspar Thomas demonstrates The Art of Close-Up Magic at Gilded Balloon while Andrew Frost lays his Cards on the Table at Pleasance. And ‘mind-reading and unbelievable trickery abound in this exploration of how autism and magic make anything possible’: it’s Naughty or Neurodiverse – Magic from Another Planet at theSpaceUK.
In Melody at The Voodoo Rooms, Aidan Sadler guides audiences ‘through the top steps to surviving the apocalypse with 80s-inspired synth-wave melodies’. Australian piano cabaret entertainer Antony (Dr H) Hubmayer brings two shows to artSpace@StMarks – A Monty Python Cabaret Singalong Circus and Another Unwasted Evening – The Genius of Tom Lehrer – plus a third, Meat Loaf – Just the Best Bits, to PBH’s Free Fringe. At Greenside, Baby Belle: Young, Dumb and Full of Autism is ‘a whimsical, musical exploration of social versus personal identity from the perspective of a late-identified and diagnosed non-binary autistic person’. And in Sawdust Symphony at ZOO, ‘obsessed characters discover and transform their space and themselves, transporting the spectator into a unique DIY experience’.
‘Rome Mosaic explores sisterhood and the sibling dynamic – with dance, lipsyncing and good old-fashioned sibling rivalry’ in Sisters? at Hootenannies. Award-winning cabaret star Ada Campe shows off her Big Duck Energy at The Stand Comedy Club, while ‘glamorous, hilarious and fiercely clever Jens Radda… reinvents Sinatra’s classics through saucy modern twists’ in Skank Sinatra at Assembly. In The Taylor Swift Eras Drag Party at The Three Sisters, hosts ‘Blaze, Rujazzle and Rozie Cheeks… take you on a journey through the eras of Taylor Swift’.
Children’s shows
‘The disability Taskmaster’ Blue Badge Bunch returns to Pleasance ‘as two teams battle it out to come up trumps in a show where disadvantage is an advantage’. At Royal College of Physicians, games-master Jes presents ‘crazy bingo variations like you’ve never seen before’ in Amazing Prize Family Comedy Bingo. And ‘your little ones will move, groove and dream, plus you’ll walk away with your very own custom-made medal,’ in The Comedy Games with Coach Mon (theSpaceUK).
‘Full of inviting, imagination-tickling charm’, Taiwan Season: Little Drops of Rain (Assembly) ‘is a feat of non-verbal, environmentally-conscious storytelling ingeniously led by Foley sound’. How to Catch a Book Witch at Underbelly is ‘an open-hearted show aimed at children ages 4+ exploring the importance of libraries and sharing stories’. And ‘when the directors call for auditions for new actors, comedy and mayhem ensue’ in Reach for the Stars at Hill Street Theatre. Meanwhile, Dragon Song Productions presents a trilogy of shows for children aged six and under at the LifeCare Centre – Ice Dragon, Moon Dragon and Sea Dragon – plus Dragon Shows for Babies, each ‘a magical and stimulating show to start a love of the theatre’.
‘Featuring stories by Scottish icon Alan Cumming’, Dragonory: Magic and Music at Edinburgh Fringe! (Hootenannies) ‘offers an unforgettable mix of storytelling and music, promoting love and acceptance’, while Newbury Youth Theatre presents The Fantastical World of My Uncle Arly at Paradise Green, ‘a voyage through the absurd world of Edward Lear.
‘Reimagined from a beloved Korean tale by Jung-saeng Kwon’, Aha! Doggy Poo (Bedlam Theatre) ‘incorporates dance, magic and Korean music to embody the philosophy that nothing in the world is useless’. Meanwhile, ‘Edinburgh’s gruesome past is brought to life by two performers (as seen on CBBC’s Saturday Mash Up)’ in Plague, Poo ‘n’ Punishment at Greenside.
FlamenKids at the Edinburgh New Town Church gives kids ‘a fun and visual way to learn about Spanish culture and flamenco art: rhythms, dance movements, clapping, guitar, singing, castanets, percussion and language expressions’. And a ‘professional violinist and cellist perform familiar classical melodies and tell a musical version of Pinocchio’ in Heads, Shoulders, Strings and Bows at Stockbridge Church.
The Spanish Gentleman Juggler is at Laughing Horse, ‘bringing to life everyday objects such as fishing poles, drinking glasses and kebab sticks alongside invented props and gymnastic balls’. Sing, Sign and Sensory at Gilded Balloon offers ‘an immersive, creative experience in customised, inflatable sensory pods’ for ages 0–2.
Comedy
As ever, there’s a strong international flavour at the Fringe. Taiwanese American comedian Titi Lee is a Good Girl Gone Baddie at Just the Tonic, discussing ‘coming out to their immigrant parents as bisexual, and then non-binary, getting pandemic boobs, and renouncing their good girl ways’. Prev Reddy, ‘the first South African comic that is Indian, queer and outspoken’ is at the Arthur Conan Doyle Centre in Prev Reddy is a Triple Threat. In Antidepressed at Greenside, ‘Ege Öztokat talks, sings and screams about the wonderfully terrible predicament of her existence as a young woman in Turkey’. Mumbai-based ‘global stand-up star’ Rahul Subramanian makes his Edinburgh debut with Who Are You? at Assembly. Bodega Bonnies at The Stand Comedy Club features ‘a new rotation of the fest’s best comics from around the globe (but mostly from New York)’. And ‘in his debut hour, Jin Hao walks you through the seascape of his mind, filled with nightmares of being a spider, dreams of joining the yakuza and breezy memories of serving in the military with the boys’ in Swimming in a Submarine at Pleasance.
Suchandrika Chakrabarti ‘tries to explain our chronically online era to her niece (5), and speculates about the future’ in Doomscrolling at Hootenannies. And audiences are invited to join Jack Freeman ‘as he learns how to love and be loved in this hilarious solo show combining stand-up with lots of heart and even more limp’: Embrace Me: A Solo Show About Dating and Disability That is Also Funny (Laughing Horse). ‘He’s been a TV presenter, DJ, double-glazing salesman, footballer and comedian’ – now James Gardner: Journeyman (WIP) is at Boteco do Brasil. Musical comedian Amelia Bayler ‘navigates a year of heartbreak and learning to be alone’ in Easy Second Album at the Scottish Comedy Festival. And Robin Cairns, ‘with his array of comedy characters, gives us a riotous hour exploring the (hopefully friendly) rivalry between Scotland’s major cities’ in Edinburgh’s Pandas Were Just Weegies in Disguise! (St Columba’s by theCastle Scottish Episcopal Church).
‘Imagine an Englishman, an Irishman and a Scotsman finally in the same bar as a therapist’ – it’s Five Mugs, No Tea at Leith Depot. The Leith Comedy Festival Presents… The Edinburgh Fringe Edition at The Biscuit Factory, boasting a different line-up every night and ‘your golden ticket to a great night out’. And A Political Breakfast at PBH’s FreeFringe is a ‘political comedy panel show chaired by Chris O’Neill or Harun Musho’d involving up to four comedians (subject to alarm clocks working) and the audience’.
Lady ADHD is at theSpaceUK and online, ‘tracing how Blaire Postman’s unique comedy bits (fueled by a rollercoaster of flipchart rabbit-holes) at first revealed to her the unexpected connections of life’s intricacies, then panned out further to expose the true nature of her own brain’. Character Building Experience at Bedlam Theatre ‘is a Dungeons-and-Dragons-style comedic interactive roleplaying game show, suitable for the experts, the novices and the uninitiated-but-curious’. At Hill Street Theatre, BBC Radio 4’s ‘cop-turned-comedian Alfie Moore returns with a brand-new show’: Fair Cop – Live!
‘Shameless, charmingly aggressive and unladylike, she’s the funniest half-Sri Lankan gal from Coventry’ – she’s Stella Graham, and her show Phoenix is on at PBH’s FreeFringe. In Good Girl at Paradise Green, Rhiannon Jenkins goes on ‘an immersive, interactive clown adventure as she plays with male fantasies, female sexuality, and how we navigate 21st century womanhood’. And Daliso Chaponda ‘revisits the themes of [his] ancient debut show’ two decades later in Feed This Black Man Again at Underbelly.
Among the familiar Fringe faces returning to this year’s festival are David O’Doherty, Flo & Joan, Reginald D Hunter, Milton Jones, Adam Hills, Dara Ó Briain (Assembly); Adam Kay (Edinburgh Playhouse); Bobby Davro (Frankenstein Pub); Andrew Maxwell, Craig Hill, Lucy Porter and Patrick Monahan (Just the Tonic); Raul Kohli (Just the Tonic and Laughing Horse); Sian Davis (Laughing Horse); Sara Pascoe, Nish Kumar and Glenn Moore (Monkey Barrel Comedy); Ahir Shah, Kieran Hodgson, Nina Conti, Rose Matafeo, Sophie Duker, Jordan Brookes, Paul Merton and Suki Webster (Pleasance); and Mark Thomas (The Stand), while former politician Mhairi Black makes her Fringe comedy debut at Gilded Balloon.
Ivo Graham is at the Fringe in three capacities in 2024: with his stand-up show Grand Designs at Pleasance, his theatre show Carousel at Assembly and as the host of Comedians’ DJ Battles at La Belle Angele.
Dance, physical theatre and circus
‘Marrying traditional rhythms with modern dance’, HuXi / Breath (Paradise Green) ‘allows audiences to embody the intricate connection of Qi within and beyond, fostering links between self-realisation and higher realms’. In Korean Painter at theSpaceUK, the Contemporary Yunhee company paints ‘various pictures on stage using the traditional Korean hat called sangmo’, offering audiences a ‘mysterious experience’.
‘Award-winning choreographer Aparna Ramaswamy weaves together threads of body, memory, desire and devotion to describe the eternal relationship between the deity and the devotee’ in Ananta, the Eternal at Assembly. In The Flock and Moving Cloud at ZOO (part of the Made in Scotland showcase), Scottish Dance Theatre present works by ‘two of the most-exciting female choreographers in the European dance scene: Roser López Espinosa and Sofia Nappi’.
At Edinburgh New Town Church, Flamenco in Scotland is ‘directed and choreographed by Inma Montero and performed by top flamenco professional artists’. Flamenco Fiesta at Alba Flamenca ‘offers the audience an intimate and delicate atmosphere to enjoy the wonders of the passionate art of Flamenco’. And 2Flamenco brings a ‘powerful, exquisite, beautiful and unforgettable Flamenco experience’ to Argyle Cellar Bar, while ‘Jolly performers from Japan will take you on a journey through a dazzling world of rhythm, tap dance and comedy’ in Sushi Tap Show 2024 at Greenside.
Part of the Sacred Arts Festival at Old Saint Paul’s Church, Dancing Ash Wednesday is ‘a piece in which movement interacts with the speaker’ in TS Eliot’s titular poem. ‘Towers grow and decay, bodies leap and are caught, physical limits are pushed to their extreme’ in Circa: Humans 2.0 at Underbelly. the Curve at Just the Tonic ‘stitches together acrobatics, dance, physical comedy and spoken word to form the image of life as a circus performer – and what happens to the body and mind in the process’. And audiences can ‘come and witness Martin and Logy’s ongoing battle against the gravitational pull of the planet’ in Circus Sonas Presents: Down with Gravity at Laughing Horse.
Music
‘Hailed by critics and fans alike as one of the finest songwriters of his generation,’ Dean Friedman brings his Words and Music to The Stables at Prestonfield. ‘After nearly a decade-long absence, Sandi Thom makes her long-awaited reintroduction to the iconic Edinburgh Festival Fringe this year’ at The Voodoo Rooms with her new song collection, Warpaint. Valery Ponomarev: The Jazz Messenger! at The Jazz Bar features ‘an unmissable exclusive performance from legendary Russian-American trumpeter and Jazz Messengers alumnus, Valery Ponomarev, who dramatically escaped 70s USSR and toured the world with Art Blakey and The Jazz Messengers’.
The songs of Jo Carley and The Old Dry Skulls ‘tell stories of deals with the devil, demons in love, witch doctors, zombies, ghosts, ghouls, journeys to the deepest jungles and other exotic adventures’ – hear them at the Argyle Cellar Bar. At Greenside, ‘iuchair tells a tale of debauchery played out in the coarsest catches of Henry Purcell and his contemporaries’ in To Your Rude Health! At Paradise Green, The Seas Are Rising: Stories of a Climate in Crisis is ‘a multimedia concert experience calling attention to the urgency of the climate crisis through original songs by American musician and songwriter Dan Sheehan’. And Grammy-winning cellist Leah Coloff ‘has played alongside the greatest names in contemporary music – from David Bowie to Debbie Harry’; her show, Super Second Rate, is at theSpaceUK.
Audiences are invited to ‘join Delhi maestro Manmohan Dogra for a journey through soulful Hindustani classical music, featuring vocal ragas and a tabla solo in Banares style,’ in Raag Rang: A Journey Through Indian Musical Traditions at Arthur Conan Doyle Centre. Seckou Keita and his Homeland Band are at The Queen’s Hall – formed in 2020, ‘they’ve been lifting audiences to their feet and leaving them buzzing ever since’. And at Valvona & Crolla, Pitchblenders: Só Danço Samba is ‘an evening of vibrant bossa nova, ebullient bal musette and soul-stirring contemporary songs from Spain, France and Brazil’.
At Assembly, ‘Out of the Blue is an internationally acclaimed a cappella group from the University of Oxford and, after jet-setting across the world earlier this year, the group is excited to return to their home turf to showcase new talent and new songs’. Meanwhile, ‘an all-male a cappella group of nerds from Imperial College London’ deliver The Techtonics: 44 Days of Liz Truss (A Cappella) at Gilded Balloon.
The Sacred Arts Festival has programmed church performances across the city this August, with Ave Maria: Centuries of Prayer and Praise at Old Saint Paul’s Church, Sacred Jazz at St Mary’s Catholic Cathedral and The Lord is my Shepherd: Sacred song of the English musical renaissance at St Vincent’s Chapel. ‘The Howe Street Singers, directed by Les Shankland, perform Faure’s much-loved Requiem and equally beautiful Cantique de Jean Racine alongside Leonard Bernstein’s Chichester Psalms’ as part of the Sacred Arts Festival Music at the Church of the Sacred Heart.
Edinburgh-based chamber choir Calton Consort ‘presents an hour of choral music from LGBTQ+ composers and allies’ in Choral Pride at Canongate Kirk. St Giles’ Cathedral hosts a programme of Celebrity Recitals on its ‘world-famous Rieger organ’, with performances from Francesca Massey, Tom Bell and Michael Harris. St Mary’s Lunchtime Recitals return to St Mary’s Episcopal Cathedral, featuring ‘a wide variety of performers playing and singing in one of Edinburgh’s most beautiful concert spaces’. And at Edinburgh New Town Church, Scottish Voices and Friends features ‘an imaginative and diverse program, including world premieres of new classical music, with a special focus on settings of Gaelic poetry by Catriona Montgomery and from the Orthodox poetry of Konstantin Balmont and traditional Ukrainian carols’.
‘16-year-old Brit School pianist, guitarist and singer’ George Cassidy brings his second show, Piano Boy, to Laughing Horse, mixing ‘his own songs with those of Elton, the Beatles and many more’. Lisa Scott and the All-Stars bring their Fabulous Sounds of the 60s to Leith Dockers Club, ‘covering all genres of music and top-class musicians, including The Beatles, The Rolling Stones, Tina Turner and more’. Vocalist Georg Tormann performs ‘a touching and entertaining tribute to Old Blue Eyes’ in Sinatra – The Greatest Hits at Frankenstein Pub. Absolutely (not) Free – An Evening of Zappa is ‘a smorgasbord of Frank Zappa classics hand-delivered by those finest purveyors of conceptual continuity, Pygmy Twylyte’ – catch them at Bannermans. Brian Kennedy toured the US with Bob Dylan, Van Morrison and Joni Mitchell in 1998 – now he celebrates the latter’s 80th year in Brian Kennedy – A Love Letter To Joni Volume 2 at Greyfriars Hall at Virgin Hotels Edinburgh. And at Le Monde, All the Hits of Frankie Valli and The Four Seasons offers exactly what it says on the tin, with ‘favourites including Sherry, Let’s Hang On, Big Girls Don’t Cry, Walk Like a Man, Grease and many more’.
‘Guitar, piano, violin, harmonium, banjo, vocals, and sometimes double bass create a folky sound with elements of classical, ambient metal, spoken word, Celtic reels and Eastern European scales’ in The Seventh Season at The Royal Oak. Fiddler Alastair Savage has two shows at St Cuthbert’s Church: Scotland and Beyond with cellist Alice Allen and The Scottish Fiddle Story ‘alongside Gregor Blamey on piano / accordion, with a specially written script read by legendary actor John Shedden’; he’s also at Canongate Kirk with Scots Fiddle Old and New. Audiences can catch ‘Wendy Weatherby (cello, vocals), John Sampson (trumpet, crumhorn, recorders), Sandy Brechin (accordion, piano), Andy Cannon (storyteller) and Allan and Rosemary McMillan (vocals, guitar) for a cheerful, poignant or nostalgic jaunt through our favourite songs, tunes and stories’ in Mrs Weatherby’s Concert Party at artSpace@StMarks.
‘Exploring classical works for viola and piano… the Kosonen Ranieri Duo will evoke the feeling of having just woken from a sweet slumber’ in Viola and Piano: Aprés un Rêve at Stockbridge Church. At St Cecilia’s Hall, The Triumph of Time and Truth: Handel and Vivaldi is ‘a vocal programme… threaded with gorgeous instrumental harpsichord and violin instrumental pieces’. Audiences can ‘join Duo Malvina for an afternoon of beautiful Classical Guitar music for two’ at St Columba’s by the Castle Scottish EpiscopalChurch. And ‘rising American opera star and composer Johan Hartman is joined by Edinburgh’s Ailsa Aitkenhead’ in 2 Artists, 2 Concerts, 2 Premieres at Greyfriars Kirk.
In Massaoke at Underbelly, audiences ae invited to join Rockstar Weekend ‘for their biggest and most spectacular show ever – a high-voltage, spandex-clad, crowd-powered, sing-along megamix of the biggest hairbrush anthems from across the decades, live and unleashed with giant video lyrics’.
Musicals and opera
The Wellbrick Centre on Roswell Drive (Paradise Green) is ‘a conversational musical with poignant, comedic and absurd elements’, focusing on two patients at a fictional NHS facility. SOFTPLANET Productions bring a pair of grisly historical musicals to the Mackenzie Building: Deacon Brodie is ‘packed with deceit, love, laughs, theft and some great contemporary songs’, while Flesh uncovers ‘the real-life drama of Burke and Hare, Scotland’s first serial killers, with a comic twist and original folk-rock songs’. On a similar theme, Ripper at Hill Street Theatre is ‘a terrifying musical look through the eyes of Jack the Ripper, the officer who pursued him, and one of his victims’.
Macbeth at Saint Stephen’s Theatre offers a new take on Shakespeare, mixing original and modern text with ‘songs from the likes of Foo Fighters, The Prodigy, Siouxsie and the Banshees and Dire Straits to name a few’. In ‘brand-new comedy musical’ The Weird Sisters (Just the Tonic), Amaranth, Scarlett and Blush ‘attempt to initiate the audience into their coven’ to a soundtrack of ‘punchy power-pop’. At Assembly, You & It: The Musical explores romance and technology with the story of Gyujin, who ‘orders an AI robot that eventually replicates his dead wife’.
Beowulf the Musical at Greyfriars Kirk ‘presents two medieval myths intertwined: on one side the famous hero as strong as 30 men, and on the other a princess who must live her life in service to her kingdom against her own heart’.
At Greenside, BANNED the musical ‘follows a group of gender misfits through the events leading up to their debut at a local performing arts festival’. Kafka’s Metamorphosis: The Musical! With Puppets! is at Pleasance, ‘a silly, surreal take on Kafka’s paranoid, mystifying masterpiece to commemorate the 100th anniversary of his death’.
Captivate Theatre brings its own mini-festival programme to The Edinburgh Academy, with performances of The Phantom of the Opera, Charlie and the Chocolate Factory, Roald Dahl’s Matilda The Musical Junior, Disney’s Frozen Junior and Les Misérables School Edition. At Underbelly, DIVA: Live From Hell! is a ‘blood-stained love letter to Broadway – a solo musical about rivalry, vengeance, and killer ambition’.
Arias in the Afternoon at the Edinburgh New Town Church features ‘international opera singer Brian Bannatye-Scott (bass) with rising stars Caroline Taylor (soprano), Catherine Backhouse (mezzo-soprano), Laurie Slavin (tenor) and James Atkinson (baritone), accompanied by dazzling Polish pianist, Michal Gajzler’. And at theSpaceUK, Fringe – The Musical isn’t what you think – it’s ‘a hilarious musical comedy about a cherished family run hairdressing salon in Essex’.
Spoken word
At Hill Street Theatre, writer Gigi Bella explores ‘mental health, feminism and the gospel of Taco Bell through poetry, comedy and music’ with show Big Feelings. Poets Christine De Luca and Elspeth Murray, in combination with Katharine Wake on the flute, return to Edinburgh Festival of the Sacred Arts at Canongate Kirk, ‘with poetry and music, offering a reflection on home and homelessness’. Also at the Festival of the Sacred Arts will be Sacred Arts Festival Poetry at Church of the Sacred Heart, promising work ranging ‘widely from masterpieces of the Middle Ages, through ballads and hymns of the Reformation, to satirical and meditative poetry from the 20th and 21st centuries’.
Ben Kassoy brings poems from his ‘spectacularly original book to life in a solo show’ at Zoo. The Funny Thing About a Panic Attack uses ‘physical theatre, dance and traditional poetry reading to reveal the connections between mental health, art and pancakes’.
Storyteller and classicist Jo Kelen brings a ‘new, poetic reimagining of the myth of Achilles’ with Achilles, Death of the Gods at Paradise Green. ‘The warrior Achilles finds himself in Troy, fighting a war that is not his. When Achilles’ lover Patroclus is killed in battle, Achilles inflicts unspeakable horrors upon those around him.’ Iain Dale returns to the Fringe with his All Talk series of political interviews at the Pleasance including Humza Yousaf, Alex Salmond, Liz Truss, Anas Sarwar and Ruth Davidson.
Among the familiar faces returning to Edinburgh are David Harmer and Ray Globe, ‘the irrepressible Glummer Twins’, back with The Beat Goes On at theSpaceUK, offering ‘stand-up comedy, spoken word and music from the beat generation through eight decades.’ Performance poet and musician Attila the Stockbroker performs 14 Days, 14 Completely Different Shows at PBH’s Free Fringe, alongside his Early Music Show at St Ceceilia’s Hall.
‘Humour and horror are woven together with empathy in a shocking insight into the untold stories of ordinary women caught up in a whirlwind of politics, religion and magic’ in Witch? Women on Trial at Greenside. Tales of Haunted Edinburgh – Echoes From Beyond the Grave at Arthur Conan Doyle Centre invites audiences to hear ‘tales of the undead from a paranormal investigator as you discover a host of terrifying stories of hauntings from the city’s dark past’. Anne Bayne of Dunsapie Loch is available online, a ‘poignant audio play [and] a journey into the heart of Edinburgh’s literary history of 1740’.
Theatre
Deaf Action present *Smoke Not Included, a scripted stoner stage play. ‘I cannae tell if I’m having fun or I’m scared he’s gonnae murder us aw’. At Edinburgh Palette, a Pan-Africanist painter, Eda, is ‘cajoled by his friend and former agent Reki to go steal some of Da Vinci’s works that are presumably on tour in an art museum in Nigeria’ in Who Tiff Monalisa? Jeremy McClain stars in Rat Tails (WIP) at Fruitmarket, a new one-man show directed by Matt McBrier. ‘As he muses on his childhood and everything that got him to this moment, follow the Prozac-popping, biracial millennial who’s married into a wealthy, British aristocratic family’.
The Good Iranian makes its Edinburgh Fringe debut with ‘a mesmerising and moving production directed by Sepy Baghaei. Enjoy the art of storytelling and the triumph of good over evil, all in one educational hour’ at Just the Tonic. ‘Though dementia is increasingly common in an ageing population, it remains an unknown quantity to many’. In William Kite has Memory Issues, follow William’s experience of seeking support for someone with early-onset Alzheimer’s as he faces his changing reality (Paradise Green). When their daughter announces that she wants to transition, a couple ‘find themselves divided in their attitudes and judgements’. In Divided, the mother – who has always seen herself as inclusive – struggles with losing a daughter and gaining a son (The Royal Scots Club).
A historical satire championing John Kay, one of Edinburgh’s unsung artists, Passing Likeness at Virgin Hotels Roof Terrace is ‘a play of grotesque caricatures and still more grotesque originals’.
Enjoy a sip of mezcal at Comala, Comala, a ‘Day of the Dead-style theatrical experience’ at Zoo. Adapted from a novel by Johnny Tait, Naked Truth is ‘an extreme satire on false-celebrity culture. Not for the easily offended. A deep, dark rollercoaster ride’ at Saint Stephen’s Theatre. In Why Am I (Still) Like This? at theSpaceUK and online, Nicole Nadler asks why she still can’t ‘leave the house on time, pay her credit card on time or know where she put her glasses’ following her ADHD diagnosis. At Laughing Horse, The Guerilla Autistics show returns for its tenth year and asks ‘are you eccentric?’ The Basement Entertainer at PBH’s Free Fringe is ‘a comedy about being a performer at heart’, as basement-dwelling artist Kate performs her sketches ‘to an audience of miscellaneous junk with faces drawn on’… until one of them starts talking back. Ne’er the Twain at Mayfield Salisbury Church is a ‘laugh-a-minute comedy’ that tackles the historic joining of Edinburgh with the port of Leith, and a family caught on the boundary line.
‘Two rising Ghanaian creatives navigate their perception of identity, success, assimilation and home’ in DRUM at Underbelly. A US writer ‘with a big nose grows up hearing stories of mixed ethnic heritage to discover the stories are not true, sort of true, then true in a way that no one expects’ in Journey to Long Nose at Greenside. The Shroud Maker at Pleasance weaves ‘a harrowing story of courage, love, escape and disappointment with comic fantasy and true stories to create a vivid portrait of life in Palestine before the recent heartbreaking events’. In Do This One Thing for Me at Bedlam Theatre, Jane Elias tackles questions of Holocaust remembrance and how we move forward through an ‘acute portrait of her relationship with her father, a Greek Holocaust survivor’.
Fix Your Mind at Gilded Balloon is a ‘a contemporary exploration of patriarchy, love and the internet’, as two siblings are drawn in different directions by their chosen communities, while I Sell Windows at Assembly is ‘one Black woman’s exploration of what is birthed at the collision of grief, ambition and sex’.
Stepping Out at Inverleith St Serf’s Church Centre ‘charts the lives of seven women and one man attempting to tap their troubles away at a weekly dancing class’, and at Hill Street Theatre, Rave is a jukebox musical set in a nightclub, where ‘we see the lives and battles of a group of friends coming to terms with getting older and the reality of faded dreams’. A musical comedy about coming of age in the 1980s, ‘mashing hundreds of classic 80s songs into both dialogue and song (a la Moulin Rouge). Don’t Stop Believing: A Theatric Remix of the 1980s is at PBH’s Free Fringe.
Out of Competition, Midnight Madness and Repertory strandswill showcase the best in UK and World cinema
The newly relaunched Edinburgh International Film Festival (EIFF) has today announced a landmark collaboration with the renowned Edinburgh Festival Fringe which will open up the Film Festival programme in new venues across the city including non-traditional cinema spaces at Summerhall and the heart of the Fringe footprint.
From August 15 to August 21 2024, the 77th edition of EIFF will see film embedded in the August festival ecosystem, allowing audiences to seamlessly experience the best of the Fringe along with the world-class programme of cinema at EIFF.
Spaces in Summerhall and others at the heart of the Fringe will serve as unique and unusual EIFF venues, creating a new EIFF footprint in close proximity to wider Fringe activity including theatre, music and comedy, ensuring audience engagement with Edinburgh’s summer festivals is easier than ever before.
This year’s cinema hub will be the Cameo Cinema on Home Street, one of the original venues for EIFF and home to some of its most iconic moments, including a speech from Orson Welles as part of the Festival in 1953.
This year’s EIFF programme will include a strand of Out of Competition films including international premieres, UK premieres and additional world premieres sitting alongside the 10 world-premiere feature films competing for The Sean Connery Prize for Feature Filmmaking Excellence.
A Midnight Madness strand will showcase the best in genre cinema from around the world in a late night slot.
A repertory strand will champion retrospective and restored masterworks.
Innovative short film programmes will also run alongside this year’s EIFF Short Film Competition, which will award a cash prize of £15,000. The title of the Short Film Competition will be revealed soon.
Industry activity will run across the first weekend of the Festival with more announcements to follow in the next few weeks. Submissions to the 77th EIFF are currently open, with a final deadline of 19 April.
EIFF honours 70+ years of film festival history, showcasing the very best talent in filmmaking in a format rooted in a local Scottish context whilst embracing the international diversity of creative expression. The Film Festival encourages general audiences, film fans and industry professionals to make the trip this summer to Edinburgh, which is universally recognised as a place of beauty, history, discovery and adventure.
EIFF Director, Paul Ridd said: “We are so excited by the possibilities of August in Edinburgh and the shape of our programme as it comes together.
“Our collaboration with the Fringe will grow a powerful relationship between audiences across artistic forms. We will tap into the creative energy that is everywhere in the city, encouraging critics, tastemakers and above all audiences to engage with each other and all that is on show.”
Recently announced, The Sean Connery Prize for Feature Filmmaking Excellence is a £50,000 award given to a single filmmaker as part of a new features competition prize at the centre of the relaunched festival.
10 world-premiere feature films will compete for the cash prize, to be determined by audience vote. EIFF will also inaugurate a short film competition with a cash prize of £15,000. Submissions are now open. Criteria for submitting films to the Festival can be found at www.edfilmfest.org.
Helmed by Festival Director Paul Ridd and Festival Producer Emma Boa, the team aims to create a world-class showcase for independent film and filmmaking talent.
Former Acquisitions Executive Ridd is supported by an expanding Board, including Chair Andrew Macdonald of DNA Films, producer of the iconic Edinburgh-based film Trainspotting; Peter Rice, former Chairman of General Entertainment at Disney and President of 21st Century Fox; and Amy Jackson, producer of last year’s BAFTA award-winning indie, Aftersun. EIFF 2024 is supported by Screen Scotland.
The Fringe Be Inspired Fund is an opportunity for teachers and schools in north Edinburgh to receive up to £400 of funding at the Edinburgh Festival Fringe 2024.
The funds must be spent on accessing live performance, engagement with companies and opportunities for further experience and education in performance for your young people.
The Edinburgh Festival Fringe Society is pleased to announce the renewal of its partnership with Johnnie Walker Princes Street, as the venue is named the Official Sponsorship Partner of theEdinburgh Festival Fringe 2023.
As the Official Partner Destination of the Fringe, Johnnie Walker Princes Street is only a short distance away from many of Edinburgh’s Fringe venues; and with stunning rooftop bars boasting some breathtaking views of Edinburgh Castle and the Old Town skyline, as well as a host of innovative food and whisky-tasting experiences and immersive tours, the five star, multi award-winning destination is an essential part of any Fringe itinerary.
For the second year in a row, Johnnie Walker Princes Street will feature in the venues map at the back of the Fringe programme – an indispensable navigational tool to everyone looking to make the most of their Fringe experience.
Johnnie Walker Princes Street, which opened with a Green Tourism Gold Award – the highest sustainability accolade for a visitor attraction – has been an invaluable supporter in the Fringe Society’s ongoing efforts to make the festival more environmentally sustainable, particularly the transition to e-ticketing in Fringe 2022.
Commenting on the news, Shona McCarthy, Chief Executive, Edinburgh Festival Fringe Society, said: “We are thrilled to be renewing our partnership with Johnnie Walker Princes Street for a second year.
“Their flagship attraction in Edinburgh has been a welcome addition to the Fringe landscape since it opened its doors and their support in helping us improve our ticketing experience has been indispensable.
“As we invite people to Fill Their Boots at the Fringe this August, we also encourage them to pop by Johnnie Walker Princes Street”.
Rob Maxwell, Head of Johnnie Walker Princes Street, said: “The Edinburgh Festival Fringe brings the best arts and comedy talent to Scotland, and puts Scotland on a global stage.
“It’s an anchor in the world’s cultural calendar, so to once again be the Official Sponsorship Partner of the festival is a proud moment for the Johnnie Walker Princes Street team as we enter our second summer in Edinburgh.
“This year we are looking forward to welcoming more people than ever into our iconic building, letting visitors from across the world experience whisky in innovative ways through our many immersive tours, our new culinary concept STIR, as well as the chance to take in the unbeatable views of Edinburgh with a cocktail at our stunning 1820 Rooftop Bar”.
Find out more about Johnnie Walker Princes Street experiences and food and drink offering here.
