How to survive the Edinburgh Fringe
The Crush Bar is back and so is the world's largest arts festival. Here, experienced Fringe-goers share their best tips on navigating the festival as both performers and punters.
Welcome to The Crush Bar, a newsletter about theatre from Fergus Morgan.
This is the first issue for a while. It contains a quick recap of stuff that happened while I was away, a bit about what this newsletter will look like over the coming weeks - basically, a lot of stuff about the Edinburgh Fringe - followed by some experienced Fringe-goers sharing their top tips on surviving the festival.
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We’re back. And we’re ready for it all over again.
Sorry for the extended hiatus. I had things to do. I am thrilled to be back bothering your inbox once again, though, with twice-weekly doses of theatre-themed rambling.
We have missed quite a bit over the last few weeks. Award ceremonies in New York and Scotland. Rows over Patti LuPone, solo theatregoing, naming rights, corporate sponsorship, ticket prices and posh kids having to pay more to go to the National Theatre. Rufus Norris knighted. Dominic Cooke appointed artistic director of the Almeida Theatre. New seasons at Glasgow’s Citizens Theatre, the RSC, the Donmar Warehouse, Jermyn Street Theatre and elsewhere. Some good shows. Some bad shows. Some welcome returning hits. And Rachel Zegler prompting more press attention than British theatre has had in years by singing from a balcony.
Maybe we will return to some of that at some point. Maybe not. For now, this newsletter swivels its attention towards the world’s largest arts festival once more. Yep, that is right. The Edinburgh Festival Fringe kicks off in three weeks. Scotland’s annual jamboree of extraordinary performance and existential despair is back.
There is not enough room here to delve into the complex, crazy ecosystem that is the Edinburgh Fringe. Fortunately, this enormous explainer I did for The Stage last summer is still largely accurate. There are a few key things to highlight about this year’s festival, though. Summerhall will exist, despite that looking unlikely a few months ago, and this guy on Interior Design Masters doing his best to ruin it. Shona McCarthy is no longer in charge of the Fringe Society; look out for my interview with new boss Tony Lankester in The Stage soon. Accommodation is still extortionately expensive, a situation exacerbated by Oasis arriving for three gigs in early August. The Welcome To The Fringe Palestine mini-festival is back. And Francesca Moody has started a new pop-up venue that will feature some exciting shows.
The Crush Bar’s coverage of the Fringe will look much as it did last year. On Tuesdays and Fridays, starting next week, I will be sending out issues featuring brief round-ups of festival-related news and lists of five shows worth seeing. I will also, if you are interested, be covering the festival in The Stage, The Scotsman, and The Financial Times, as well as via various panels and radio programmes. I will, in short, be needing an awful lot of coffee. If you want to help on that front, you know what to do.
The Edinburgh Fringe is incredible, but it can also be intimidating for artists and audiences alike. For punters, the sheer scale can be overwhelming. For performers, the emotional, physical and financial toll of putting a show on can be challenging. Before it kicks off, then, I wanted to do something small that might make those stresses and strains easier to manage, so I asked some experienced Edinburgh Fringe folk for their best advice on surviving and thriving at the festival. Here is what they said…
How do you work out what to see?
I have a browse through the brochure and book new shows from artists whose work I have seen and admired before. After that, I listen to the grapevine and make sure my schedule is not too full, so that I can fit in any shows that are hot.
Wolfgang Hoffmann, Aurora Nova
It is really hard. Before August, I browse the immense programme. Then, once I get to Edinburgh, I follow my instincts: an eye-catching flyer I stumble upon, an intriguing poster, word-of-mouth. At the Fringe, everything goes!
Nicola Campostori, Black Blues Brothers: Let’s Twist Again!
I keep an eye out for old friends and favourites. I also love sitting down with the big brochure and a highlighter, as well as walking down the Royal Mile and seeing what pitches grab me. It’s all about taking risks and seeing what you stumble across. That’s how you find the gems.
Emma Frankland, No Apologies
The first thing we do is check to see if Cat In The Hat is coming to the Fringe that year, and then we see everything else on a bit of a whim. It’s best not to think too hard, mainly because we need our brain capacity to focus on when we’re going to see Cat In The Hat.
In B, Philosophy Of The World
How do you attract audiences to your show?
I really think a strong image and design is so important. When the image is strong and the design good, the show immediately looks professional and worth of attention. From there, well, basically, don’t be shit. Word-of-mouth is gold and if people are saying good things about your show, others will want to come and see it. I also do as many promotional slots as I can.
Laura Corcoran, Frisky’s Reshuffle
We all worked so hard to build social media followings over the years, and that was all illusory. Now it is all monetised and governed by a mystical algorithm, it feels more like a lottery. So, I’m back to basics. Make great work. Talk to people.
Christian Barry, Red Like Fruit
Word-of-mouth during the opening days of the run is vital. Check your venues papering comp policy before arrival, and distribute those comps to front-line customer service staff within your venue’s postcode at cafes and bars. That way, when those staff members inevitably get asked if they’ve seen anything they would recommend, they pass on your show.
Tom Forster, Summerhall Arts
Wear your show merch 24/7. Title recognition and repetition is so important. You don’t want to miss the opportunity to embed the title of your show in someone’s subconscious.
Blair Russell, Jackie!!!
Flyering still dominates at the Fringe. A few hours before the show, a nice walk around strategic points and near the box office has a significant impact on ticket sales.
Nicola Campostori, Black Blues Brothers: Let’s Twist Again!
We take the paperless approach and don’t have any flyers. Now, we go out with poster boards, asking people to take a photo or scan a code, and the response has been brilliant.
Noel Byrne and Antonia Christophers, 1984
You have to be real about what makes your show stand out. You wrote it and you’re also performing it? Cool, so are 1000 others. The show is about a real experience you had? So is half the Fringe. You have to take a step back and try to see what really makes your show worth seeing. Study other shows that you think have a similar target audience. See that show. Chat with that team. Maybe ask to exit-flyer their show. Ten good conversations when flyering is more valuable than 100 random strangers taking a flyer to get you to stop staring at them.
Xhloe and Natasha, What If They Ate The Baby?/And Then The Rodeo Burned Down/A Letter To Lyndon B Johnson Or God: Whoever Reads This First
How do you keep costs down?
I don’t. It’s expensive. Book accommodation early. Book travel early. In the day-to-day, though, enjoy the ride, eat what you need, and sort out the credit card bills later.
Christian Barry, Red Like Fruit
I don’t, really. I like to feel good and treat myself if I need to. Fringe is hard enough without denying myself little daily rewards.
Jonny Woo, Jonny Woo: Suburbia
I’ve become a maestro of meal prep. I do regular supermarket sweeps, then don my imaginary apron - diamond-encrusted Schiaparelli - and get chicken roasting, vegetables chopped and curries simmering. Then, I become Tupperware Tyra and divvy up dinners into colour-coded collapsible boxes.
Peter Baker, Murder She Didn’t Write
How do you connect with industry?
I don’t connect with industry. They connect with me. I love to schmooze, so often I will go to those weird events where an embassy or something invites people and you stand around and make industry small talk and eat free cheese. I genuinely really enjoy this.
Trygve Wakenshaw, Monsterrrr! with Trygve Wakenshaw
At networking events. In bars. Through introduction by friends. Build your own network of friends and colleagues and be generous with your time, your information, and your praise. Treat the people that you already know as the most important. This will come back to you in magical ways.
Wolfgang Hoffman, Aurora Nova
By spending time at the Traverse Theatre bar.
Christian Barry, Red Like Fruit
Research, research, research. Get a list of arts industry members. See who is producing shows like yours. Send newsletters. Persevere with those you think are most interesting. If you don’t get a response, reach out to them on Facebook, Instagram, LinkedIn. Don’t be obsessive, but keep your goal in mind.
Nicola Campostori, Black Blues Brothers: Let’s Twist Again!
Talk to everyone. Not literally everyone, but you know what I mean. Relish the melting pot. Talk to people you’re standing behind in queues, sitting next to at shows, waiting to cross the road with. You never know who you might meet. A new friend. A new enemy. Either way, it’s an anecdote waiting to happen.
Ellie Keel, Skye: A Thriller
How do you deal with disappointment?
By never being disappointed. What I do is tons of fun for me. If you were a kid, playing on your favourite swing at the playground for an hour each day, what could get you down? Someone tells you that they didn't think that swing was as fun as you think it is? People didn't come watch you play on your swing? What does that matter? You just rode your favourite swing for an hour!
Trygve Wakenshaw, Monsterrrr! with Trygve Wakenshaw
When it comes to disappointments I usually initially sulk hard for maybe an hour, then I will bitch to someone for a good five to 120 mins, just to get it out of my system, then, depending on the size of the disappointment, I will either go to the gym, go to a bar, go to a club, go to a drug dealer, or go to another country.
Barnie Duncan, Barnie Duncan: Oooky Pooky
The best way to start is by having low expectations. That way, everything good that happens is a welcome surprise.
Wolfgang Hoffman, Aurora Nova
The Fringe is an unparalleled opportunity for emerging companies to perfect their craft. At the end of Groundhog Day, Bill Murray could speak French, play the piano and ice-sculpt. If the script isn’t landing how you wanted, change it. Bring other artists that you’ve met at the festival onto your stage for cameos. Grow it into something that would be impossible in any other setting.
Tom Forster, Summerhall Arts
Remember that it passes. Not everyone can like everything you do or agree with everything. Just because one person, one day, doesn’t like your show, it doesn’t mean the next day someone won’t love it. The arts are subjective. Try not to beat yourself up, as hard as it is.
Chloe Nelkin, Chloe Nelkin Consulting
How do you stay sane?
I’ve learned that giving myself breaks keeps my love for the Fringe strong and my brain sane. Walks in nature, visits to a gallery, a trip down to Portobello to look at the sea, a cup of cocoa with a book in a tucked-away café off the beaten track: these are some of the things I find restorative.
Peter Baker, Murder She Didn’t Write
Don't go it alone. Build your community support system of friends and other artists who you can be vulnerable with and share your experiences, both good and bad. In other words, get some good drinking buddies.
Blair Russell, Jackie!!!
Get a really solid show routine. It helps to focus and gets all the craziness out of your head a little. Don’t get too obsessed with reviews, ticket sales, or promo. Remember to actually enjoy this incredible festival for a minute or two!
Noel Byrne and Antonia Christophers, 1984
You have to treat yourself as a professional and as an athlete. It is so easy to get caught up in the excitement of the the Fringe, to stay our for a drink every night, to see that 2am comedy show, to try and fit four of your friends’ shows in before performing your own. The crazy Fringe experiences have theirplace, for sure, but we have found that the only way to stick it out the whole month as a performer is to remember that we are on the job.
Xhloe and Natasha, What If They Ate The Baby?/And Then The Rodeo Burned Down/A Letter To Lyndon B Johnson Or God: Whoever Reads This First
The Fringe is exhilarating but can be overwhelming too. Don't let the fear of missing out drive your experience. Take breaks to properly digest what you've seen and felt. Remember you can't see everything or be everywhere, and that's okay. Artists, Fringe Central is your sanctuary for rest, development and support. Come find us. We would love to meet you.
Chris Snow, Edinburgh Festival Fringe Society.
I try to escape. I’m actually awful at taking this piece of advice, but it’s important to find moments for yourself. Cook a proper meal, visit the beach at Portobello, climb Arthur’s Seat - or Calton Hill if you want an easier walk - or get properly out of the city. There are some amazing places to visit only an hour away on the train.
Chloe Nelkin, Chloe Nelkin Consulting.
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That is it for this issue. I will be back on Tuesday. If you want to get in touch about anything raised in this issue - or anything at all - just reply to this newsletter.
Fergus
Headed to Fringe for the first time this year. Appreciate the collection of anecdotes and advice. I wrote a harem comedy about the Clinton family, "Oh Hillary," so the attracting an audience part really felt insightful.
Great to have you back! Whilst I am of course sad not to be in Edinburgh this August... I'm also slightly relieved.