Edinburgh Festival Fringe 2025 Programme launched

Today, Tuesday 03 June, the Edinburgh Festival Fringe Society is delighted to launch the 2025 Edinburgh Festival Fringe programme. The programme celebrates the diverse selection of work at the Fringe, with performers from across the world and work from 58 countries.

This year’s programme features work from 3,352 shows across 265 venues, with themes tackling some of the most topical issues in the world today.

From rebellious women to the paranormal; the apocalypse to nostalgia; queer joy to life with illness; rave and club culture to science and technology.

Launching the 2025 Fringe programme, Tony Lankester, Chief Executive of the Edinburgh Festival Fringe Society, said: ‘Programme launch is such an exciting moment for everyone involved making the Fringe happen.

“Thank you to all the Fringe-makers – the artists, venues, workers, producers, technicians, promoters, support staff and audiences that bring their un-matched, exceptional energy to Edinburgh in August.

‘This year’s Fringe programme is filled with every kind of performance, so whether you’re excited for theatre or circus, or the best of comedy, music, dance, children’s shows, magic or cabaret; get ready to dare to discover this August.

“Jump right in, book your favourites, shows that intrigue you and take a chance on something new.’

In this release

New show additions

Key themes:

Rebellious women
The paranormal
The apocalypse
Nostalgia
Queer joy
Life with illness
Rave and club culture
Science and tech

New show additions

At Traverse Theatre,Gary McNair’s ‘award-winning show’ A Gambler’s Guide to Dying returns ‘back home for a special run to mark its 10th anniversary’.

‘Four generations of Northern Irish women, reunited’ in Consumed (Traverse Theatre), ‘a tale of twisted family dynamics and national boundaries’.

‘Inspired by his involvement in the Egyptian revolution of 2011, and experience of the counter-revolution that followed, Khalid Abdalla brings together the personal and the political’ in Nowhere (Traverse Theatre).

At Scottish Storytelling Centre, join the Loud Poetsfor ‘fist-thumping, pint-drinking, side-tickling, heart-wrenching fusion of poetry and live music’ or ‘Scottish and Welsh traditional storytellers Ailsa Dixon and Ffion Phillips as they weave folk music, language and story across these isles and between worlds’ in Aderyn/Bird.

Also at Scottish Storytelling Centre, Cassandra ‘blends Greek myth, Scottish folklore and personal narrative to explore prophecy, protest and survival across time and space’.

Rebellious women

At Summerhall, Amazons is a ‘gripping new solo show about the Amazon rainforest and the generations of women who have fought to protect it’.

‘From Parisian hysteria to the glowing Radium Girls’, Fragile Creatures at theSpaceUK ‘reveals gripping stories of women’s rebellion, resilience and their relentless fight for bodily autonomy and equality’.

In Alice Hawkins – Working Class Suffragette at the Arthur Conan Doyle Centre, ‘Peter Barratt gives a stirring and passionate account of his great-grandmother’s hard-fought campaign for the vote’ while VOTE the Musical at Paradise Green takes a ‘gripping look at the Suffragette movement exploring imprisonment, activism and the fight for electoral freedom’.

Three resilient Scottish sex workers, dream of escaping the lives they’ve been trapped in, but the patriarchy stands in their way in Happy Ending Street at Leith Arches.

In Well Behaved Women at Gilded Balloon, in 1888 ‘three chaotic twentysomething women decide to host a séance’ and make ‘a bit of a mess of things.’

‘Get ready for a powerful performance’ at Women in Socks and Sandals at ZOO, ‘filled with quirky stunts, mental courage and celebration of the right to be oneself’.

With ‘history, sermons and singalong’, Church of the Clitori at Paradise Green aims to ‘satirise and crash-tackle anatomy, religious ads and female sexuality politics’.

The paranormal

At Braw Venues @ Grand Lodge, Fallen Angel by Liam Rudden tells the story of Angel, who’s been ‘tortured’ by angels for ‘500 years’, while ‘startling revelations about Edy Hurst’s relations have set him on vision quest to contact his ancestors’ in Edy Hurst’s Wonderfull Discoverie of Witches in the Countie of Himself at Assembly.

Do Zombies Dream of Undead Sheep? is a ‘one-man (and one puppet) musical journey through a zombie outbreak, combining live performance, puppetry and animation’ at ZOO.

‘Get to know Frankenstein’s Monster like you’ve never been able to before’ at Fatherless Monster (Paradise Green), ‘face to face with only a mic and some stage lights between you and him.’

0.1% Accurate: Magdalena the Fortune Teller Show ‘will predict the future, summon the spirits, answer your life questions and send you home smiling’ at Alchemist Cocktail Bar and Restaurant.

Listen to the tales of Haunted Edinburgh at Arthur Conan Doyle Centre ‘and discover a host of terrifying stories of hauntings from the city’s dark past’ or visit The Mother Superior to ‘unveil women’s role in shaping the history of alcohol, including sharing how some were framed as witches’ in Whisky & Witches.

A Haunted House at Assembly is a ‘hysterical, terrifying and surreal tale, about one hair-raising night in a haunted house’ ‘for those who like their laughs big and their scares spine-chilling!’

‘The world-renowned paranormal expert Baron Vordenburg and his helpers, Gothic and Grotesque, give away trade secrets and expertise on hunting the unknown’ in Baron Vordenburg’s Guide to the Paranormal at theSpaceUK.

‘A man commits the ultimate act of cowardice’ and ‘a woman’s spirit gains terrifying embodiment’ in ‘dark, twisted folk horror tale’ Tom Hiccup’s Well at Greenside.

The apocalypse

At theSpaceUK, ‘apocalyptic anti-romcom’ Horny for the End of the World follows ‘Gen Z, try-hard, pick-me Ebeth gets dumped by the man of her dreams the day before everyone realizes the world is going to end’.

Apocalipsync is a ‘high-energy solo show blending physical theatre, mime, dance and lip-sync mastery’ ‘exploring themes of isolation, hyper-connectivity and human expression’ at Assembly.

Original musical The Real Housewives of the Zombie Apocalypse at Greenside asks if the ‘OGs of reality TV’ can ‘survive the hordes, and each other, and self-produce their way to the end?’ while 4’s a Crowd (Or What Not to Do When Stuck in a Bunker During the Apocalypse) at theSpaceUK ‘follows the idiots left behind after the world ends’.

Apocalypse Cabaret: Songs for the End of the World (Underbelly) is a ‘powerhouse Fringe debut packed with original songs, pop bangers, audience interaction, and existential musings’ following ‘a lonely karaoke jockey is the sole survivor at the end of the world and decides to go out singing.’

Scenes of Unfathomable Horror brings ‘absurd, twisted and entertaining take on modernity, celebrity and existential dread’ to Just the Tonic.

Nostalgia

At Underbelly, A Small Town Northern Tale is a ‘Y2K coming-of-age story, charting life in a small Northern town as a mixed-race boy’ and WANTED tells the story of ‘two girls from opposite worlds’ ‘fated to meet on the 00s queer scene’.

At Club NVRLND (Assembly), ‘where the party goes on till morning’, ‘Wendy and Peter reunite for an unforgettable night of adventure, nostalgia and staying forever young, featuring the biggest 2000s anthems’

‘All set to the soundtrack of the 2000s’ Jake Donaldson Is The Fifth Weezer at Laughing Horse is set to be ‘packed with nostalgia, punchy jokes and stories about finding your place in the world’.

‘The perfect nostalgic show for pop fanatics and chart aficionados’, Margot and Martha’s Chart Show Mixtape at theSpaceUK will ‘take you on a journey from mixtapes to Spotify wrapped, celebrating pop music through what was in the charts on the 18th of August – the very week they’re performing at the Fringe’.

‘Party like it’s 1999’ at MASSAOKE: 90s Live (Underbelly) with ‘an epic 90s sing-along’.

‘Through everyday conversation, hilarious comedy, and music-hall style songs’ at The Steamie (Gilded Balloon) ‘we learn from four working-class women about their lives, husbands, technology and the approaching New Year in this time capsule of Glasgow in the 1950s’.

Queer joy

A ‘love letter to the queers, the weirdoes, the trailblazers, the fringes and the night-walkers’, Anatomy of a Night at Summerhall isan ‘exploration of personal identity through a reflection of memories from queer and club spaces’.

‘Queer, chic and outrageous’ – head to the Big Gay Afterparty at Just the Tonic for the ‘biggest, gayest party at the Fringe (fun straights allowed)’.

‘A queer love story but no one dies at the end? Welcome to the world of’ Blooming at Greenside.

Join a ‘plus-sized, 72-year-old lesbian’ sharing ‘intimate stories celebrating inclusivity’ at Tales From Your Queer Elder (Greenside).

At Carpet Muncher at the Scottish Storytelling Centre, ‘the contemporary folklore of the Mothman is brought to life, using vibrant surrealist costuming to explore themes of queer alienation, metamorphosis, cross-border solidarity and homoerotic hot-hub encounters’.

Follow a young trans girl as she navigates the hilarity of rural Argentina during the 1900s at Cecilia Gentili’s Red Ink at Underbelly.

‘Expect chaos, drag, stand-up, glitter, queer joy and an ever-changing line-up of LGBTQIA+ acts’ at Comedy Queers (Laughing Horse) or check out Midnight at the Palace (Gilded Balloon) for a ‘night of radical joy and glitter-encrusted anarchy’.

Living with illness

3 Kidneys No Colon at Braw Venues @ Grand Lodge is ‘the medical diaries (or rather… diarrheas) of Dave who suffers from chronic kidney disease, ulcerative colitis and has had multiple organ transplants’.

Learn about ‘narcolepsy from a true-life perspective’ at theSpaceUK, Fragments of Fatigue is a ‘coming-of-age story to transform your world and prove just how much fight is required to beat the fatigue’.

‘Artfully weaving between generational trauma and chronic illness’, Robyn Reynolds: What Doesn’t Kill You at Assembly will have you ‘roaring with laughter’.

In The Nature of Forgetting at Pleasance, ‘Tom is living with early onset dementia’ and ‘we meet him as he prepares for his 55th birthday party and past memories come flooding back’. At theSpaceUK, Ah-Ma is ‘a hauntingly beautiful new play, weaving together natural and social disasters, bodily deterioration and family sorrow’.

At Assembly, Ohio tells the story of ‘when Shaun turned his back on the church’ and ‘found a new home in music’ before he is ‘confronted now with acute degenerative hearing loss’.

Yvonne Hughes: Absolutely Riddled is ‘a fresh and bold dive into the reality of living with cystic fibrosis (CF) – a journey that’s as phlegmy as it is funny’ at Gilded Balloon.

Rave and club culture

At Summerhall, The Butterfly Who Flew Into The Rave is ‘the atmosphere and culture of a three-day rave condensed into an hour’ while PUMP ‘drops you in the middle of a nightclub dance floor in a desperate search for validation, intimacy and identity’.

Her Raving Mind is ‘a Greco-British rave tragicomedy unravelling the complex mind of an abuse survivor’ at Just the Tonic.

‘Loud, lawless, and laced with naughty bits’, Watch Me Die! is ‘rave theatre: performance, film, stand-up and pounding basslines, dragging Shakespeare into a civil war where star-crossed love and vengeance make their scene’ at theSpaceUK.

At Rave, Colin and Rosie ‘are battling through their own worlds of crisis using the music of the rave club to help, encourage and solve their problems’ at Braw Venues @ Grand Lodge.

Science and tech

Created by an AI researcher, AI: Save Our Souls at Greenside features ‘an immersive future world of AI, polystylistic music and a dynamic plot’ while at Paradise Green, Rise of the Solar Punks asks ‘what can we learn from ancient cultures regarding climate adaptation, and how can we fuse this with technology and AI?’

As part of the Made in Scotland showcase, MUO Live at the French Institute in Scotland is ‘a unique fusion of music, science and unseen cosmic forces.’

Head to Just the Tonic, Excel Comedy and Mathem-antics for a ‘themed stand-up show for spreadsheet experts and rookies alike’ or check out Sci-larious – Science Stand-up at Laughing Horse for ‘bi-lol-ogy or pharm-ha-cy’.

Mark Thompson’s Spectacular Science Show at Gilded Balloon is ‘science like you have never seen it before’ exploring ‘the magical properties of matter’.

At PBH’s Free Fringe, Freya McGhee: Experimental blends ‘science, comedy and dating into one unforgettable experiment’ investigating ‘the chemistry of attraction to the mechanics of mixed signals’.

Check out Hot Rubber (Gilded Balloon) to see ‘eight comedians pit their homemade remote-control cars against one another in the world’s smallest demolition derby’ or ‘form a team, select a knockoff Roomba, customise it, then pit it against a dozen rivals’ at Robot Vacuum Fight Club (Outhouse Bar).

New and interesting venues

Braw Venues @ Grand Lodge ‘on busy George Street’ is new with a number of shows this August, including well-known musicals Little Shop of Horrors, High School Musical and Footloose, as well as a range of theatre, cabaret and children’s shows.

Welcome to the Fringe, Palestine, ‘a mini-festival to celebrate Palestinian art and culture’, takes place in new venue Portobello Town Hall.

Citadel Youth Centre is ‘hosting two fundraisers for the Citadel’s valuable work with young people and families in Leith’ Storm in the Citadel and Punchline on Leith.

The Bowlers Rest in Leith is home to Beggared, ‘the story of a privileged white South African whose life collapses into homelessness’.

Easter Road Stadium joins the Fringe as a venue, hosting two shows: Dropped, in which ‘former Chelsea FC trainee Alfie Cain tells his moving story of dashed football dreams and explores the darkness and pressures young men go through trying to make it as professional footballers’ and Frankie Mack Showman – The Next Stage: The Leith San Siro ‘a high-energy, show-stopping night of swing, rock’n’roll and modern classics’.

All the way from Italy is Mirage Spiegeltent at Gyle Shopping Centre, hosting Spirit of the Favela, a ‘dynamic fusion of circus and theatre showcasing Rio de Janeiro’s vibrant culture and communities’.

Gilded Balloon have introduced a new space at Appleton Tower for twenty shows, including Frances Floats and Not My Grandmother’s Daughter.

Now in St. Andrew’s Square, The Famous Spiegeltent returns, offering theatre, cabaret, music and musicals, including La Clique – ‘the global phenomenon that redefined a genre, with its mélange of cabaret and circus’.

Famous faces

Josie Long: Now Is the Time of Monsters is ‘a new show about extinct, gigantic, charismatic megafauna from three-time Edinburgh Comedy Award nominee’ at Pleasance.

Gilded Balloon marks their fortieth anniversary with ‘a series of special in-conversations featuring comedy greats’ including Jenny Eclair and Michelle McManus.

Also at Gilded Balloon, Rosie O’Donnell: Here & Now ‘reflects on her life in the present, including why she moved to Ireland from the USA, and how that shift has shaped her future’ and Michelle Brasier: It’s a Shame We Won’t Be Friends Next Year is a ‘show for the theatre kids, the freaks, the queers; for anyone who’s spiralled about something they did years ago’.

Fringe favourite Nina Conti: Whose Face Is It Anyway? is back at Underbelly, with ‘an unparalleled, unscripted show that delves deep into who we are, hijacking faces to spark a bold, hysterical reality warp’.

‘Direct from a sell-out West End season’, Bill Bailey is at Edinburgh Playhouse with Thoughtifier while Miriam Margolyes brings ‘more characters, more Dickens and more fascinating stories about the man behind the classics’ to Pleasancewith Margolyes and Dickens: More Best Bits.

‘The talented comedian, writer and host of A24 late-night variety sketch show’ Ziwe brings Ziwe’s America to Pleasance.

At The Stand Comedy Club, ‘expect to hear the glorious mess of being a professional polymath – from medical school to quiz championships, comedy clubs to Parkinson’s advocacy’ at In Conversation with… Paul Sinha or ‘jokes, rants, politics, swearing and possible nudity’ at Mark Thomas: WD40.

At Monkey Barrel, there’s ‘new material from the Rose d’Or, Southbank Sky Arts and Edinburgh Comedy Award winner’ Bridget Christie. Also at Monkey Barrel, ‘the Taskmaster treasure, Live at the Apollo star and voice of Netflix’s Too Hot to Handle presents a new hour about our bodies corporeal and politic, and what remains through ascension and destruction’ with Desiree Burch: The Golden Wrath.

‘A love letter to people pleasers everywhere’, Laura Benanti: Nobody Cares at Underbelly is ‘a hilarious, heartfelt and sometimes brutally honest tribute to recovering ingenues, mothers and anybody working on themselves’.

‘Comedy veteran’ Karen Dunbar ‘returns to the Fringe for a limited run of her stand-up tour’ at Just the Tonic.

At Assembly, David O’Doherty: Highway to the David Zone has ‘has got the lot’ with ‘talking, songs, talking during songs, talking while walking around’.

Free and Pay What You Can/Want shows

There are 325 free shows and 529 Pay What You Can/Want shows in this year’s programme.

10,001 Ideas by Robyn Perkins at Laughing Horse offers a ‘uniquely different hour of critically acclaimed stand-up and storytelling’.

Huge Davies: Free Work in Progress is at PBH’s Free Fringe with ‘his wearable keyboard for a free hour-long work in progress’. Also at PBH’s Free Fringe, Escape the Rat Race is a ‘a must-see for anyone who has ever worked in an office’.

At Laughing Horse, Three Bad Sisters is a ‘cacophony of the best and darkest materials from these three female rising stars of Irish comedy: Aideen McQueen, Shinanne Higgins and Louise O’Toole’.

‘Imagine an Englishman, an Irishman and a Scotsman in the same bar as a therapist’ and you’ll imagine 5 Mugs, No Tea at Leith Depot. At the Mother Superior, you can ‘expect a fever-dream of love, loss, and existential dread’ at Crying at the Meat Raffle.

Disco Picnic at The Three Sisters is a ‘Fringe fiesta serves up a delicious mix of toe-tapping disco tunes’.

Thanks to our supporters and partners

The Fringe Society are grateful to the many partners, supporters, funders and sponsors this year. In particular, they would like to thank the official Education Partner of the Fringe Anthropic, the official Beer of the Fringe Innis and Gunn, Cirrus Logic and Baillie Gifford.

They would like to thank the UK Government and the Department for Culture, Media and Sport for their Keep it Fringe Fund support, the Scottish Government and City of Edinburgh Council for strategic funding support, the Scottish Government’s Festivals EXPO Fund support for the Made in Scotland programme; and Screen Scotland for supporting Screen Fringe.

The Fringe Society would also like to thank accommodation partners who provide much needed affordable accommodation to artists – Queen Margaret University and the University of Edinburgh, Theatre Digs Booker. Health in Mind are also returning in 2025 to support the delivery of mental health and wellbeing services within Fringe Central, which is once again kindly delivered in partnership with Grassmarket Community Project.

Fringe in numbers

3,352 total shows
265 total venues
49,521 performances
Work from Scotland: 923
Rest of UK: 1,392
Countries represented: 58 (including UK countries)
International countries: 54 (excluding UK countries)
There are 321 freeshows and 529 Pay What You Can/Want shows.
There are 923 Scottish shows, with 657 shows coming from Edinburgh.
Shows within each section:
- Cabaret and variety – 159 shows (4.7%)
- Childrens’ shows – 140 shows (4.2%)
- Comedy – 1,214 shows (36.2%)
- Dance, physical theatre and circus – 130 shows (3.9%)
- Events – 49 shows (1.5%)
- Exhibitions – 42 shows (1.3%)
- Music – 370 shows (11.0%)
- Musicals and opera – 165 shows (4.9%)
- Spoken word – 154 shows (4.6%)
- Theatre – 930 shows (27.7%)

Fringe benefits: £300,000 Scottish Government support for ‘one of Scotland’s signature events’

Deputy First Minister Kate Forbes has announced new funding to support the world’s largest performing arts festival.

The Edinburgh Festival Fringe Society will receive £300,000 from the Scottish Government in 2025-26 to help grow the significant benefits the Fringe delivers for Scotland’s economy, society and culture sector.

The funding will enable work in two areas agreed between the Scottish Government and the Fringe Society, firstly to develop the capabilities of the Society’s data and digital infrastructure to make it more accessible for artists, audiences and venues.

Secondly, it will fund work to explore how the Scottish Government and the Fringe Society can help Scottish artists and the sector as a whole capitalise on international opportunities, by targeting agreed priority countries and regions.

Deputy First Minister and Economy Secretary Kate Forbes said: “The Fringe is one of Scotland’s signature events. From humble beginnings in 1947, it has grown to become the world’s largest performing arts festival, making it a significant economic contributor to Edinburgh, and Scotland as a whole.

“This agreement recognises firstly, that the Fringe Society does not neatly fit into the funding streams available to other culture organisations. Secondly, that there is ample opportunity for the Fringe Society to work more closely with all the other organisations who play an important role in making the Fringe the annual success that it is.

“The Scottish Government is committed to working with the Fringe Society and all partners who deliver, it to help safeguard the future of the Edinburgh Fringe as a world leading cultural asset, built on the principle of free access for all.”

Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe Society said: “We welcome this new funding and thank the Scottish Government for recognising the unique position that the Fringe Society has. This will undoubtedly contribute greatly to Scotland’s economy, society and culture sector and we hope that this is a first step towards long-term funding for the Fringe Society.

“It is vital that the Fringe Society can continue to provide much needed core services to the thousands of artists who come to the festival every year and who recognise it as a global marketplace and expo. A sustainable Fringe Society can use its convening role to unlock support for the wider Fringe from the imminent visitor Levy.

“We look forward to working with Kate Forbes and the Scottish Government on developing a long-term sustainable funding model, and welcome this investment into both digital infrastructure and international opportunities.”

Edinburgh Festival Fringe Society announces 180 recipients of the 2025 Keep it Fringe fund

Bursaries of £2,500 to support artists bringing work to this year’s Fringe

Today, Friday 7 March, the Edinburgh Festival Fringe Society is delighted to announce the recipients of the 2025 Keep it Fringe fund.

This is the third year of the fund, an initiative created to support Fringe artists to realise their professional ambitions, and in 2025 funded by the Department for Culture, Media and Sport (DCMS).

The Keep it Fringe fund was launched in 2023 by the Fringe Society honorary President Phoebe Waller-Bridge and funded by the Fleabag for Charity campaign, alongside funds donated to the Fringe Society by Edinburgh Gin.

Supported by £1 million from the Department for Culture, Media and Sport (DCMS) over two years (2024 and 2025), the Fringe Society is today announcing the successful 180 recipients of £2,500 bursaries for Fringe 2025. The fund received 848 applications, which were reviewed by 28 independent assessors.

Keep it Fringe shows span a range of topics, including IVF, Miss Universe pageants, Dolly the Sheep, incel culture, Deliveroo cyclists, tinnitus and football hooliganism, with companies and artists covering nearly every genre in the Fringe programme. Representing a mix of free and ticketed shows, 33% of the successful applicants identify as disabled or have a health condition, and more than 30% come from a working-class background.

The Fringe Society hopes to continue the Keep it Fringe fund for as long as possible and is actively seeking new funding and donations to ensure the long-term sustainability of this important initiative. Donations can be made here, and updates will be provided as the project progresses.

Culture Secretary, Lisa Nandy said: ‘The Fringe is the largest performing arts festival in the world and gives creatives from across the UK the opportunity to showcase the wide variety of talent this nation has to offer.

‘This funding will ensure that artists from all backgrounds have the opportunity to put on a show for the international audiences and industry professionals that gather in Edinburgh each summer and enable the Fringe to continue to boost our up-and-coming artists.’

Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe Society, said: ‘This year we received the highest number of applications to date which highlights how valued and needed this initiative is.

“We are thankful to DCMS for providing the funding that has enabled us to continue the Keep it Fringe fund for the last two years. We know that for many artists the financial challenges of putting on a show can prevent some from coming to the Fringe, and this funding will enable the Edinburgh Fringe to be more accessible to artists from across the UK.

‘We are keen to continue the Keep it Fringe fund, as we have heard countless testimonials on how invaluable this support is. If you think you can help, please get in touch with the Fringe Society team.’

THE SUCCESSFUL RECIPIENTS OF THE KEEP IT FRINGE FUND (alphabetical):

This list does not include the full list of recipients as three shows are still going through the final stages of confirmation.

4PLAY, Colours Run

Agent Red Arts, AUDITION

Aisheshek Magauina, 2 Muslim 2 Furious 2: Go Halal or Go Home

Alastair Clark, Alastair Clark: On The Record

Alex Mitchell, Alex Mitchell: “Tough”

Alfie Webster, lenny.

Alice Cockayne, Alice Cockayne:

Alison Affleck, ali affleck and The Traveling Janes

Alison Spittle, Fat Bitch

Amy Mason, Amy Mason: No Thanks

Amy Yeo, Well Behaved Women

Angela King, A Period of Faith

Aoife Parr, anatomy of pain

Arron Jones Entertainment, #1 Greatest Hit Rock ‘N’ Roll Magic Show

Audaciously Tenacious Theatre, Perfect Dead Girls

Ava Beaux, Ava & Beaux: Tales of Magic

Belis Abysss, Unlearning Mastery

Best in Class, Best in Class

Beth Mullen, Clementine

Bobby Bradley & Emery Hunter, Dregs

Brass Tacks Comedy, Jack Traynor

Cameron Sinclair Harris, Cameron Sinclair Harris: PLANETS!!!

Caroline Madds, Buzzin’

Caroline McEvoy, Caroline McEvoy: Train Man

Castile Collective Ltd, The Queen Is Mad

Chakira Alin, House Party

Christian Dart, Christian Dart: GUMSHOE!

Claire Parry, I am Claire Parry (very funny stand-up)

Clare Fraenkel, I WAS A GERMAN

Clare Noy, Funny Though

Cloud, Warm As Summer, Bright As Blood

Coral Bevan / Asparagus Mousse, Fisherman Jon: What’s on the end of my rod? – a clown odyssey

Curly, C U Later, Simulator

Daniel McKeon, Boyboss

Danielle Reales, Spectrum

Dare Theatre, Youth In Flames

David Ferguson, David Ferguson: Bedhead

Dean T. Beirne, Fated to Pretend

Dee Allum, The Meaning of Life

Deiseil Airson Dannsa, Deiseil

Diona Doherty, GET YOUR PINK BACK

Dora Colquhoun, The Lodger

Ebdon Management, Joz Norris: You Wait. Time Passes.

Effectus Theatre, Sing, Sign and Sensory – On Safari

Elastic Fantastic, Shallowspace Cryotech Feverdream

Eleanor May Blackburn, A Sudden, Disturbing To-Do List

Eliza Kate Nelson, Sinnyworld

Emballage, The Writing of Stones

Emily Briggs, Garbanzo

Emily Davis, Escape the Rat Race

Emma Ruse Productions, Jumper Bumps

Emotionally Volatile Productions, Bluebeard’s Castle

Emul8 Theatre, Becoming Maverick

Fella, Show us ur fruitcake

Fiona Louise Moon, A Brief History of Neurodivergence

Fraser Penman, Penman – The Imagination – You!

Full Frontal Theatre LTD, Rodney Black: Who Cares? It’s Working

G+J Productions, Some Masterchef Sh*t

Genesis Theatre Productions, Lost Girls / At Bus Stops

Georgia Bruce, Attention

Ghouls Aloud, Elysium – a new ghost story with original music

Ginger Black Productions, Life Would be Pretty Dull Without Sex, Raves and MDMA

Giselle: Remix, Giselle: Remix

Grace Mulvey, Did you hear we are all going to die?

Grace Whitty, The last Oak Tree

Grey Castle Productions, Two Tribes

Grownup Playhouse, Milly’s Musical Adventure

Half Diamond Theatre, A Most Pressing Issue

Hasan Al-Habib, Death to the West Midlands

Hassan Govia, Because

Higgledy Piggledy Productions, PALS

Holly Gifford, Big Little Sister

Holly Redford-Jones, I Was Dancing In The Lesbian Bar

Holly Spillar, Holly Spillar: TALL CHILD

Hunter Millington, A Northern Tr*nny Hootenanny

In Bed With My Brother, PHILOSOPHY OF THE WORLD

Jack Brownridge-Kelly, Cold, Dark Matters

Jacob Nussey, Primed

James Clements, The Burns Project

Jessica Aszkenasy, TITCLOWN

Joe Sutherland, Joe Sutherland: Miss World

Julia Salkin/Serpentine Productions, were you in terror?

June Tuesday, June Tuesday: Comic Trans

Kane & Abel, Twin Feats

Kathy Maniura, Kathy Maniura: The Cycling Man

Katie Mitchell, Spine Hygiene

Katie Pritchard, Katie Pritchard: I Kiss The Music

Katy Baird, Get Off

Kayleigh Jones, I Fed My Dad to a Pelican

Keturah Peirson and Evelina Rudasa, Why Won’t They Eat The Cake?

Kie Carson, Silly & Starving

Kiren Virdee, Does Anyone Else Smell Curry?

Kumar Muniandy, Second Class Queer

Lachlan Werner, Lachlan Werner: WonderTwunk

Ladyblue Music, The Beauty of Bacharach

Laugh For Life Comedy, Behind the Laughter

Laura-Rose Layden, GREY

Lauren Talitha Ziebart, Sheepish

Liam Withnail, Liam Withnail – Trauma Dump No Lols

Liebenspiel, Bedlam Late

Little Seeds Music, Cinderella Ice Cream Seller

Lorna Rose Treen, Lorna Rose Treen: The Diner Show

Louisa Marshall, Clean Slate

Lucy Aphramor, Taking the Biscuit

Lucy Roslyn, Lovett

LULA.XYZ Ltd, I AM: A Walking Universe

Made You Look Productions, Lioness

Maria A L Zani, The Collective: Breaking Barriers at the Fringe

Maria Who?, Miss Brexit

Martha Pailing, Chat Sh*t, Get Hit

Jasmine Thien, I Dream in Colour

Maybe You Like It, Down to Chance

Mianoora Kosonen, Echoes of Finland: Rare Piano Gems by Sibelius, Madetoja & Palmgren

Michelle Burke, Mind How You Go

Mohit Mathur, Dial 1 for UK

Molly Farquhar, Hairy B*stard

Molly McGuinness, Slob

Moon Rabbit Theatre, Shirley: A Ghost Story

Moonbeam Theatre Ltd, Once Upon A Flowerbed

Moonstone Theatre Company, ENOUGH.

mr blue productions, Something Else

Narin Ozenci, Narin Oz (Inner Child(ish)

Nate Kitch, Nate Kitch: Something Different!!!!!

Nathan Cassidy, Nathan Cassidy: It’s Not The End Of The World

Niall Moorjani Storyteller, Kanpur: 1857

Northern Lights Theatre, The Sculpture

Orla Newmark, Orla Newmark and Will Hughes: Chef’s Treat (WIP)

Out Of The Forest Theatre Ltd, Bury The Hatchet

Ozzy Algar, Ozzy Algar: Speed Queen

Parky Players, Been There, Done That, Got The Symptoms

Passing Stranger Theatre Company, People We Bury Alive

Pedro Leandro, Soft Animal

Piers MacKenzie, COURIER

Pigs Fly LTD, E@sy Ryan

PINCHY theatre, FLITCH

Ray Productions & Big Sofa Theatre, Egg’s Aren’t That Easy To Make

Roarrr Theatre, Here Comes GuDong

Rodreguez King-Dorset, I am the Greatest!

Rosa Garland, Primal Bog

Saksi Bisou, Stampin’ in the Graveyard

Salt Circle Productions, Bea P. Deigh

Sam Nicoresti, Sam Nicoresti: Baby Doomer

Sam Williams, Touch Me Not

Samia Rida, Kidnap

scott turnbull presents, Scott Turnbull presents…Surreally Good

Seemia Theatre CIC, Saria Callas

Shahaf Beer, The Jewish Dog

Shalaka Kurup, Shalaka Kurup: Get a Grip

Short and Sweet Theatre, Milk On The Side: A Barista Musical

Shy Bairns, Shy Bairns Get Nowt

Siblings Comedy, Siblings

SkelpieLimmer, SHAME SHOW

SkelpieLimmer Productions, Anthem For Dissatisfaction

Slow Theatre Company, ALICE

Sufrecs Ltd, Sufrecs Presents: ‘Live Music and Chat: “A Kick Up The Arts” Live Podcast Event’ (working title)

Susan Riddell , Kopfkino

Tamsyn Kelly, Tamsyn Kelly Hot Titty Bungalow

TEAM Collective Cymru, Relay

The Biscuit Barrel, Biscuit Barrel: The 69-Sketch Show

The Crunch Collective, Nick it For Munich

The Harbourers Theatre, Harbouring

The Horgles, A Xerox of a Deer

Tigers, Not Daughters, Cara and Kelly are Best Friends Forever for Life

Tom Little, Tom Little Less Conversation, Tom Little More Action

Tomas McCabe, 1Date: The Dating Game Show

TRIADA theatre company, HER RAVING MIND

Uncaged Theatre, Love you, bye

Undone Theatre, The Butterfly Project

Unexpected Places, After Juliet

V Jay Theatre Productions, Streets Paved with Gold

Victoria Evaristo, Ma Joyce’s Tales from the Parlour

Victoria Firth, Batty!

Victoria Melody, Re-Enactment

wendy houstoun, Watch It!

Wilmas Productions, Mr Jones

Xhi Ndubisi, The Apologetics of Icarus

Youth Action Alliance, As We Face The Sun by Kit Withington

ASSESSORS

28 assessors supported the Fringe Society in reviewing the applications received. Thanks to the following for their support in the fast turnaround of these awards.

Alex Howarth, Artistic Director, Patch of Blue

Apphia Campbell, Writer / Performer

Ashley Davies, freelance Arts Journalist

Ben Humphrey, Artistic Director / Producer

Chris Cooke, Founder and Co-Editor of ThreeWeeks Edinburgh

Geoff Rowe, Founder Leicester Comedy Festival

Jake Orr, freelance Creative Producer

Jess Donn, Just Something Different LTD

Pax Lowey, Director: Actually Rather Good Comedy Festival, freelance Producer / Programmer, elected member of the Fringe Society board

Ruth McCarthy, Artistic Director / Outburst Arts

Sasapin Siriwanij, BIPAM Artistic Director

Sharon Burgess, Chief Executive of Aberdeen Performing Arts

Linda Catalano, Creative Director and Executive Producer, Quiet Riot

Paloma Estevez, Director of Artistic Programming, Lincoln Center for the Performing Arts

Nqobile Dumo Mbhele, Artist Manager, National Arts Festival

Cat Sheridan, Senior Producer, We Are Unlimited

Rachel Clarke Hughes, Creative Director, The Playhouse, Derry~Londonderry

Stewart Pringle, Writer and Dramaturg

Richard Williamson, Lighting Designer / Production Manager

Murray Robertson, Arts Writer

Holly De Angelis, Development Producer

Saima Ferdows, freelance TV Producer

Ameena Hamid, Producer and General Manager

Zoe Paskett, Founder of LMAOnaise Comedy

Laura Rouxel, Head of UK Comedy for 800 Pound Gorilla Media

Aisling Galligan, Senior Events Producer and Programmer

Anonymous, Booker, Programmer

Anonymous, Booker, Promoter, Producer

Keep it Fringe Fund Stats 2025 Download

‘Warm words do not support our vital cultural life and creativity’

Fringe Society publishes its review of the year 2024

Today, Tuesday 26 November 2024, the Edinburgh Festival Fringe Society publishes its review of the year 2024, outlining its activities over the past 12 months. These include the Society’s core services to artists, as well as the work it undertakes year-round to give anyone a stage and everyone a seat.

This year the Fringe maintained its unique position in the world as one of the most important performing arts expos on the planet. Over 1,800 arts industry delegates came to the festival to see, book and buy work for opportunities such as onward touring and broadcast potential.

Artists from 60 countries performed across 3,746 shows in 262 venues and some 900 accredited media wrote about the festival and reviewed work.

Along with the success of this year’s festival there continue to be significant concerns regarding the cost and availability of affordable accommodation in Edinburgh, pressures on the supply chain, and an unhelpful policy environment; all exacerbating the already fragile cultural economy of the Fringe.

At the close of this year’s Fringe, Fringe Society Chief Executive Shona McCarthy penned an open letter outlining the many challenges faced by the sector and its thousands of artists, supporting the no art without artists campaign by Scottish creatives.

The Fringe Society also supports the current #InvestInCulture campaign from Scotland’s cultural sector, which seeks to increase the Scottish Government’s budget contributions of national spend on culture from 0.5% to match or exceed the European average investment in culture of 1.5%.

The challenges facing the Fringe Society, the Festival Fringe and the Scottish arts sector can only be overcome with long-term collaborative, sustainable action and investment.

As such, in a new development for this annual publication, the 2024 review of the year has been designed as a launchpad for further discussion.

In Shona McCarthy’s last review of the year before stepping down as Chief Executive, the Fringe Society invites potential funders, partners, sponsors and those who benefit from the economics of the Fringe to engage with them now and help ensure the sustainability of this unique event into the next 77 years.

Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe Society said: ‘This year’s review is an invitation for discussion and to find solutions for the future of this amazing festival and expo.

“The whole sector needs action and investment and so does the Fringe. As the most influential and important performing arts marketplace in the world, the Fringe is crucial for the whole cultural ecosystem, not only for local, UK and international artists, but for the thousands of arts industry and media delegates who come here every year to view work, and source content for their own theatres, festivals and platforms.

“Warm words do not support our vital cultural life and creativity. Warm words do not provide platforms for Fringe artists on a global stage. Warm words do not help communities and audiences experience an event of global significance, on an Olympic scale, on their own doorstep.

“Now is the time to step up and work collaboratively to secure the future of this signature event for Scotland. After nearly ten years at the helm of the Fringe Society, I urge our public funders, our potential sponsors and partners, and those who have the influence, to turn words into action and sustainability for the sector and for this iconic event for the next decade.’

Benny Higgins, Chair of the Edinburgh Festival Fringe Society said: ‘Against an increasingly difficult policy environment and ongoing financial pressures, I congratulate Shona and the entire Fringe Society team on all that they have achieved this year.

“Artist support remains at the core of the work of the Fringe Society and the team work tirelessly to ensure this festival can continue.

“This isn’t easy work but is vital to ensure artists can continue to create and share their creativity that we all benefit from.’

2024 Fringe Society Review of the Year Download

‘There is no future for the Fringe without art. There is no art without artists’

FRINGE BOSS WADES IN TO ARTS FUNDING FURORE

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 is no 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 third annual Fringe Cares Festival

Care Home Residents Enjoy The 3^rd 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.

New Infirmary Street Hub for Festival Fringe Society

The Edinburgh Festival Fringe Society (EFFS) is set to develop a new festival hub after the City of Edinburgh Council agreed a long lease for one of its buildings in the city centre.

The decision to lease South Bridge Resource Centre was taken at a meeting of the Council’s Finance and Resources Committee on Thursday (14 March).

The EFFS proposals, funded from an award of up to £7m from the UK Government, would see the building completely refurbished and modernised, with an emphasis on access and carbon reduction, as it is transformed into a year-round resource.

Detailed work is ongoing to identify other venues for the current users of South Bridge Resource Centre – the majority are adult education classes with suitable alternative locations already identified – and further detailed and responsive engagement will take place as plans are finalised.

Councillor Val Walker, Culture and Communities Convener for the City of Edinburgh Council, said: “Today’s decision means the Edinburgh Festival Fringe Society now has a substantial city centre location for their exciting plans for a new hub.

“The proposals are for a new, year-round space which includes opportunities for local cultural organisations, artists, and communities to use as well as a Fringe Festival home.

“The Council has a vital role to play in ensuring residents have access to creative and cultural opportunities wherever they live in our city.

“We’re committed to regular funding, partnership working, and backing development programmes and projects. By doing this, we can support and facilitate the stability and development of our city’s exceptional array of cultural activities, venues, communities and events at every level.

“As part of the proposals, suitable alternative locations have already been identified for the majority of groups and classes that currently use the building. Further detailed and responsive engagement will take place as we identify venues going forward.

Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe Society, said: The Committee’s decision today is an important milestone in the journey towards creating a new Fringe community hub.

“We’re pleased with the decision and excited to move a step closer towards providing a flexible, functional, sustainable and accessible space to bring artists, residents, community groups and the Fringe community together.”

World’s Two Biggest Arts Festivals unite in Cultural and Knowledge Exchange agreement

The Edinburgh Festival Fringe Society, the charity that supports the world’s largest performing arts festival, the Edinburgh Festival Fringe, and the biggest arts festival in the Southern Hemisphere, Adelaide Fringe are coming together to form an arrangement that will see both organisations amplify one another’s efforts for the benefit of artists and the international arts community.

Each organisation’s respective CEO will sign a Memorandum Of Understanding (MOU) that outlines the details of the arrangement on August 11 during this year’s Edinburgh Festival Fringe.

The MOU came to fruition from a collective belief between the Edinburgh Festival Fringe Society and Adelaide Fringe that organisations who share common objectives have the potential to positively influence the personal development of the Fringe festival artists and workers and thereby increase outcomes for each organisation.

The MOU will be signed by the South Australian Minister for Arts, Andrea Micheals MP and Scotland’s Culture Secretary Angus Robertson.

Culture Secretary Angus Robertson said: “The Edinburgh Fringe is an inspiration to many festivals around the world and this formal agreement between the Edinburgh Fringe Society and the Adelaide Fringe is a fantastic initiative that will bring many benefits to both organisations.

“In particular the opportunity to share knowledge and skills, grow new audiences and provide platforms for performers will help the business development of both festivals.”

South Australian MInister for Arts, Andrea Micheals said: “This MOU brings together the wealth of talent, experience and creative ideas that exists in both Edinburgh and Adelaide Fringe Festivals.

“It represents the two largest festivals in the world joining forces to harness that extraordinary skill and create exciting opportunities for artists and arts workers to work at these two internationally renowned festivals and beyond.

“Adelaide is one of the world’s greatest festival cities and this partnership with the Edinburgh Festival cements our international reputation as the arts capital of Australia.”

The arrangement outlines details between the two festivals in the context of business, exchange and joint initiatives that will see Edinburgh and Adelaide Fringe festivals work to encourage the development of artists and their career trajectory and festival workers to the benefit of festivals internationally.

Each organisation will recognise their positions as major tourist attractions in their respective regions for both local, national and international travellers; and the benefits of working collaboratively in the development of skills for festival workers, along with the importance of business opportunities that are created at festivals via industry programs for artists to secure future bookings for their work.

Each partner is committed to the development of their staff, which will in part see the implementation of an exchange program between the two major festivals.

The MOU outlines a commitment from each party to promote one another’s Fringe festivals to artists while growing the audience-facing and industry-facing opportunities for artists participating in the festivals.

Director and CEO of Adelaide Fringe, Heather Croall said: ‘The establishment of this MOU is a momentous occurrence in the festival world.

“Fringe festivals are incubators for live performance and a testing ground for fresh ideas and new works, I’m sure the outcomes of this arrangement will ripple positively for artists and industry across the globe.”

Chief Executive of Edinburgh Festival Fringe Society, Shona McCarthy said, “Today is an exciting moment as we formalise a collective ambition to support each other across a range of areas.

“Our relationship with the Adelaide Fringe has developed over the last decade into a supportive and collaborative partnership, where we learn from each other and share our mutual challenges and opportunities.

“The signing of the MOU is just the beginning of what we know will be an extremely rewarding partnership for everyone involved in the festivals.”

Le Gateau Chocolate shares his Fringe journey at the 2023 Edinburgh Festival Fringe Artist Address

On Friday 4th August the 76^th edition of the Edinburgh Festival Fringe officially began. In celebration of the first day, the annual Artist Address took place for the first time since 2019, and the Fringe Society was delighted to welcome Le Gateau Chocolat as keynote speaker for this important event.

Designed as a celebratory moment for Fringe artists to gather at the beginning of the festival, Gateau gave a thought-provoking, empowering, and at times emotional speech to those gathered for the event.

It was in 2008 that Gateau made his debut at the Edinburgh Festival Fringe, shortly after an appearance at the Adelaide Fringe. Due to work commitments in London, he felt unable to fully ensconce himself in the ‘anarchy of its magic’ and returned three years later in 2011 with Le Gateau Chocolat.

‘When you’re not performing the show, you’re selling it. When you’re not selling it, you’re doing PR. When you’re not doing PR, you’re rehearsing, adjusting to the conversation with the audience – in a permanent state of dampness. The exhaustion at a cellular level whilst also being deeply invigorating. You’re on a constant high which amplifies the lows – however brief they are.’

Highlighting the platform the Fringe can offer artists for career development, Gateau shared insights into the journey his show took following his 2011 debut as Le Gateau Chocolat: ‘The magic of Edinburgh Fringe was very present, and I was lucky enough to tap into the zeitgeist. Shows sold out. Reviews were great. It got a London transfer to The Menier Chocolate Factory. The Sydney Opera House. Poland. Christchurch, New Zealand. Melbourne. Auckland. It set me on a course that introduced me to Basement Jaxx and had me performing with them and Metropole Orkest at the Barbican. It’s how T-Mobile found me and reached out for me to be part of the flash mob ad at Terminal 5. It changed my life.’

Returning to the Fringe in 2018 with three shows, Duckie, Icons and Jonny Woo’s All Star Brexit Cabaret, Gateau’s journey continued, and he worked hard to engage with new audiences and build on his touring opportunities. Duckie went on to tour extensively across the UK and continues to do so with a new non-binary and neurodivergent performer.

Highlighting a need for greater inclusivity and access at the festival, Gateau stated ‘Inclusivity is not a word, it’s an action, it is practise.’ Citing the current cost of living crisis, accommodation costs and the risks artists take to bring work to the Fringe every year, Gateau referenced the ongoing impacts of the pandemic and the resilience of artists, but that ‘elasticity doesn’t mean we can’t break.’

With an audience listening intently to Gateau’s story, the 2023 Artist Address highlighted the continued need for artist support across a range of areas.

Encouraging the room to support each other and to drive a sense of comradery and community, Gateau concluded his speech by stating: ‘There is magic here. I haven’t found it at every Fringe I’ve attended but I have found it several times.

You can and will be in conversation with your audiences – my hope for artists present and all artists at this festival is that you indeed find audiences. You are enough and the experiences that have brought you to this moment are valid.

“Lean into telling your stories as authentically as you can versus seeking validation from audience numbers, audience responses and reviews. If you succeed at doing that, tell me how because at 41 it’s a code I’m yet to crack! And to the facilitators of the storytellers, my plea to you is don’t take advantage of our reality; what we do is who we are.’

Shona McCarthy, Chief Executive, Edinburgh Festival Fringe Society, said: “When Le Gateau Chocolat took to the stage you could hear a pin drop. The room was there to hear from an artist who has attended the Fringe for over 15 years and who has first-hand knowledge and experience of everything that this glorious event can challenge you with.

“We recognise the great financial risk that artists take in bringing work to the Fringe every year, and Gateau’s story highlights that every artist’s journey is different. Our immense thanks to Gateau for sharing his story, and to all the artists taking part in this year’s festival for making the commitment to be at this year’s Fringe.’

Tackling Barriers: Fringe Society announces strategic partnership with Nouveau Riche Productions

Today, 1 August 2023, the Edinburgh Festival Fringe Society is pleased to announce a new strategic partnership with Nouveau Riche Productions. The partnership aims to understand how to address barriers to participation for Black and/or Global Majority artists at the Fringe.

The partnership will initially last six months and will focus on the shared ambitions of Nouveau Riche and the Fringe Society in providing support, resources and signposting for under-represented artists who face barriers to participation, and/or experience unsafe working environments, when taking part in the Fringe – specifically artists who identify as Black and/or Global Majority.

Nouveau Riche will build and manage a network for Fringe participants who identify as Black and/or Global Majority and will collaborate with the Fringe Society on providing resources and events, as well as informing the development of their support services.

Following the 2023 Fringe, Nouveau Riche will gather feedback from this year’s artists of colour along with industry professionals with long-term Fringe experience, to ensure Black and/or Global Majority Fringe experiences are fully heard, and to inform future planning for development of this partnership and associated longer-term services.

Chris Snow, Head of Artist Services at the Fringe Society, said: ‘There has historically been limited support available for Black and/or Global Majority artists taking part in Fringe, and the Fringe Society acknowledges that this needs to change.

“Nouveau Riche are an established and experienced theatre company working with and supporting emerging artists of colour at the Fringe, and across the UK. For real change to happen, it is vital that the Fringe Society, venues and producers work with partners like Nouveau Riche, to understand how we can all support the festival to become more inclusive and accessible for artists facing barriers to taking part.

“In this first year of partnership, Nouveau Riche are building a network of Fringe artists of colour to help us consult, understand existing challenges, and establish plans for ongoing support.

“The Nouveau Riche team are also working with us on resources and events and are developing post-festival evaluation plans to inform our ongoing work. It is incredibly exciting to be working with them on this, and we hope it’s the beginning of a long-term partnership.”

Sarah Verghese, Senior Producer at Nouveau Riche, said: ‘Last year, Nouveau Riche published a Call to Action after our experiences at Edinburgh Fringe over the last five years.

“We are a one of the few Black-led companies who head to the festival consistently and this is because there is little to no support for our communities. I was delighted when the Fringe Society contacted us about a possible partnership to support the well-being and welfare of artists of colour heading to the festival.

“This year, Nouveau Riche is not producing a show at Edinburgh Fringe – instead we are delivering resources, wrap-around activity, events, drop-in and feedback sessions.

“It’s important that we are listening to our communities and their experiences to shape the festival into a welcoming, safe and inclusive place for us. Fringe of Colour has been a pioneer in this work by creating databases and sharing resources for artists of colour and we are so proud that they are no longer alone in their efforts to make Fringe a safe space for our communities.’

The Edinburgh Festival Fringe is taking place from 4 – 28 August 2023.

More information about the programme and tickets can be found at edfringe.com.

Bursaries of £2,500 to support artists bringing work to this year’s Fringe

Fringe Society publishes its review of the year 2024

FRINGE BOSS WADES IN TO ARTS FUNDING FURORE

Care Home Residents Enjoy The 3rd Annual Fringe Cares Festival

Care Home Residents Enjoy The 3^rd Annual Fringe Cares Festival