Edinburgh Fringe festival Faces Accessibility Concerns as Costs Rise
EDINBURGH, SCOTLAND – The edinburgh Fringe Festival, the worldS largest arts festival, is drawing both seasoned performers and newcomers despite increasingly challenging financial realities for artists.A recent report highlights concerns that the festival, historically known for its inclusivity, is becoming less accessible to those without established fame or important financial resources.
Comedian Greg Daniels, known for his work on Upload, is performing at the Fringe for the first time, alongside rising talent like Kayla johnson. Johnson, whose show Toxically Optimistic opens with the provocative line, “I’ve got a gun,” uses her hour-long set to explore the experiences of being a Black Muslim woman in America and her continued hope for the country. She described the experiance as a return to her “open mic days,” contrasting the festival’s self-funded nature with the support provided by other international festivals, which often cover travel and accommodation.”You know what America’s like? It’s like that family member, they drunk, and they knockin’ s** over,” Johnson joked, adding, “But you like, ‘No, my uncle, he’s a good uncle.'” She expressed a desire to act as an “ambassador” for America,acknowledging international curiosity surrounding U.S.politics.
The festival’s enduring appeal is also rooted in its history of unpredictable and groundbreaking performances. Scottish comedian Marjolein Robertson, who grew up on the remote shetland Islands, shared a story passed down from her father about a 1970s or 80s Fringe show where a man began eating cream crackers messily and noisily when the scheduled performance failed to materialize. The man’s impromptu act turned out to be performance art by a young Rowan Atkinson, later known as Mr.Bean.
Robertson, whose show Line blends Shetland folklore with comedy, is performing the third installment of a trilogy at this year’s festival. she emphasized the value of performing daily for a month, noting how it fosters growth and refinement of a performer’s craft.
Though, Robertson voiced concerns that the Fringe is evolving into “the beast,” losing its original spirit of inclusivity. “The Fringe is now, in many ways, the beast!” she stated. “What’s that classic phrase? You either die the hero, or live long enough to become the villain.” She suggested the possibility of artists creating a new, more accessible “fringe of the Fringe.”
The report underscores a growing debate about the future of the Edinburgh Fringe Festival and its commitment to remaining open to all artists,nonetheless of their financial background or level of recognition.
NPR producer Fatima Al-Kassab contributed to this story.Jennifer Vanasco edited for broadcast and digital.*
