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And with that, the Edinburgh Festival Fringe 2024 comes to an end. Trying to capture everything that happened is a task worthy of Hercules, so I hope that I've brought you a flavour of the Fringe during August.
The Fringe has always faced challenges from its first days to this year and beyond. Instead of an interview to close out August, I wanted to talk a little about our Fringe community and my hope that over the next year, we can all listen to everyone's concerns and work on solutions that benefit everyone.
Let's ensure that when we all return to Edinburgh in 2025, the Edinburgh Fringe is the best it can be. -
As we come to the end of week three, we sit down with Anthony Alderson, director of The Pleaseance Theatre Trust.
We touch on several critical issues running one of the largest venues at the Edinburgh Fringe, including the continuing impact of COVID and the importance of government funding to the Fringe community and The Pleasance. Given the cost of the Fringe is on everyone's minds, we talk about turnover, tickets, and artistic risk.
We also talk about the work of The Plesance to support and promote the arts at Edinburgh in August and throughout the rest of the year, including various Pleasance Futures projects and the ambition of creating sustainable touring for theatre in the UK. -
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Tim Benzie joins us on the show today to talk about his two Fringe shows, "It's A Mystery" and "Solve Along A Murder She Wrote". Yes, he loves his cosy crime shows, but doesn't everyone secretly love a mystery?
We start with the rules of detective fiction before our talk turns to Agatha Christie and Dame Angela Lansbury, how you can do a solve-along-a with a murder, and the advantages of having two shows at the Fringe where one is guaranteed to get the ticket sales. -
Mark Dean Quinn joins me on the show today to do his best not to talk about his show 'Oh No (That's Not Your Cheese).' He's found the right level of fame, and doesn't feel the need to go any further.
Nevertheless, we've lots to talk about, including the importance of the Free Fringe and how this can offer more artistic freedom, his work on the Edinburgh Fringe Performers' Forum, and why he is ready to help people before they get to Edinburgh.
But does he eat cheese? -
Juliet Cowan has an impressive CV of character roles in TV and film following her stand-up appearances, yet 2024 is her first hour of comedy at the Edinburgh Fringe. The delightfully titled show has Cown looking at the impact of the menopause and its reflection on the rush of hormones in her teenage life. We...
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To open up week three, I speak to Nina Gilligan on her show Goldfish. We start with the classic observation of a Goldfish's memory before exploring what that means to Nina and how it ties in with the show.
We also go into the importance of "the hour" at the Fringe, why it is well suited to Nina's show, and how she could never be as vulnerable on the regular circuit as she can be in Edinburgh. -
Rachel Kaly is over from the US to bring their debut hour to the Fringe. Hospital Hour looks at Kaly's many appointments and visits to the American healthcare system for psychological treatments.
We also talk about what the fringe means in general and Edinburgh specifically. How do you know when an hour is ready for the Fringe, and how does the show change throughout the month? -
A fun conversation with Louise Atkinson today as we talk about her show She's Got The Look. The press release provides my first question (to the light of morning DJs the world over), but we go into more topics on the business and art of being a comic.
How can you make comedy accessible to everyone? How does Edinburgh fit into the United Kingdom's festival circuit, and why is the Fringe one of the biggest routes into comedy? And if it's all about rhythm, what beat does Louise work to? -
John Meagher joins me on the podcast today to discuss his life and Edinburgh Fringe debut. 8 years after starting on his performing career, he has an hour for the Fringe. Big Year is that show, and it's an opportunity for John to look back over his life, from an island off the coast of Ireland to his own home in England.
We talk about his approach to writing material and why it has to be personal, the various culture shocks throughout his life, finding love and looking back on his life to find the good times. -
Today, I speak to Natasha Pearl Hansen. Following her breakout hour and comedy special retelling the moment she cancelled the wedding and turned it into a recording session for a live show, Natasha returns to the Fringe with The Right Amount of Wrong.
It looks at life after that not-wedding day, finding the joy and the win in the day, and the journey that followed. We talk about that, but also the challenge of transferring US comedy to the UK, how to name a show so it can be easily pitched and flyered, and (of course) the weather. -
Vyte Garriga's Paper Swans is a mesmerising and thought-provoking piece of absurdist theatre that is picking up critical acclaim in the media covering the Fringe, and offering an emotionally complex hour for the audience.
We talk about moving from Lithuania to the UK and London and why RADA felt like the only option for Vyte to further her career. From there, she talks about her academic studies and why she was hungry to be on stage, both individually and as part of a theatere company. Finally, we talk about the writing process and the challenges presented by the repeating motif in Paper Swans and the challenge if offers the audience. -
Archie Henderson joins me today. He's the creative mind behind Jazz Emu, a flamboyant singer with illusions of grandeur, as Emu looks to climb the dizzying pole of stardom. The show at the Fringe is a brash mix of musical fun, intense moments, and the drive to succeed in front of royalty.
We talk about the influences of music and style behind Jazz Emu and how the audience interaction of a comic can apply to what is essentially a piece of musical theatre. How that changes depending on the venue Henderson and the full band are playing in, and why the Government's lockdown campaign is a key part of Emu's story. -
Joining me on the podcast today is Julie Flower, who has a story that looks at "love, memories and the stories our clothes have to tell." Bringing the true-life story of her Grnadma's counter-culture second-hand shop in Sheffield to the Fringe, we talk about the trailblazing nature of her relative, investigating your own family for personal and professional reasons, and subverting expectations.
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Bebe Cave joins me today for the big interview. She's been a regular at the Fringe since she debuted in 2012 in a two-hander show with her sister, but this year is her first solo show. 'The Screen Test' is a period piece set in the Golden Age of Hollywood, but it talks about the industry demands of today, as well as a near century ago in Hollywood.
We also talk about the delights of the heroines of the screwball comedy, finding the confidence to go out on stage, and the importance of family support when you work in the Arts. -
Today's interview is with Finlay Christie, a comic who has found success on the stage and online, with sell-out shows at the fringe and a popular YouTube channel that can bring hundreds of thousands of viewers to his material. His show ‘I Deserve This’ sees the 19-year-old question his success and how he balances the different needs of comedy for the online and offline worlds.
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Today's interview is with Alison Larkin. She has brought "Grief… A Comedy" to the Fringe. It's a solo piece about Alison finding love late in her life before her partner died. Alison's grief took her on an unexpected journey full of hope, laughter, and a cameo from Archbishop Desmond Tutu… as all good stories must.
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For our second preview of the Edinburgh Fringe, Ewan Spence talks to Darrell Martin, owner of the Just The Tonic venues. We talk about starting out at the Edinburgh Fringe with the Big Value Comedy Showcase before moving into venue management; the mix of ticketing at the Fringe (from Free to full price) and which Darrell thinks is best; the cost of attending the Fringe; and finally touch on the impact of politicial decision in Edinburgh and Scotland threaten the Festival.
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For our second preview of the Edinburgh Fringe, Ewan Spence talks to Julie Lærkholm, the Community Engagement Officer at the Fringe Society to find out more about how the Fringe works with local communities, organisations, and schools, to make the Fringe more accessible to Edinburgh residents and the visiting audiences.
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