Firstly I have a few questions: are you into the arts? Do you have a sense of adventure? Are you relatively unafraid of ending up massively in debt? Do you like Sixteenth century architecture? Then the Edinburgh Fringe festival is for you.
The brief for this article was to tell the story of SNAFU Theatre’s journey to the warm rainy cockles of the Scottish heart of the Fringe, in the hope of encouraging and advising others to follow suit. But the only thing I know from running a theatre company with my friend May Jasper, who acts as our producer and playwright, and the many talented and dedicated theatre nerds we have met on our way, is that each person’s purpose and experiences behind upping sticks and getting a show on the road, whether it be to Edinburgh or Northcote, is different. And well it should be too.
The main thing about ‘getting yourself in’ to the Edinburgh Fringe, or to any Fringe festival for that matter, is that the big papery programmes that are printed each year are not releasing the names of the artists most meritorious of putting themselves under the banner of the festival. Every act, every show of the Edinburgh, of the Melbourne and Adelaide Fringe festivals, simply pays a registration fee and are therefore in the programme. From Simon Callow to North Carolina High, the initial registration fee, in relation to the rest of the costs you incur later in the show, is really a blip on the horizon.
Which leads to the advantage of launching your new piece in a Fringe environment; an idyll in the seemingly competitive field of the performing arts (competing for funding, reviewers, and often, as an afterthought, audiences).
Most audiences who ‘do’ the fringe see at least two shows a day, more often four or five, so by day three they consider themselves to be festival connoisseurs. To put it another way, punters may walk out of your show after five seconds if it doesn’t take their fancy, but it won’t be down to bitchiness or hard feelings, rather the incessant need for every footpath-hitting show-goer to see as much as humanly possible within the confines of August. Not that anyone has walked out of our show – that would be terrible.
May puts it much better than I, so I’ll paraphrase: If you have a show, an idea of a show, and you’re willing to do the work, and you have some semblance of an ability at fundraising (you’d be surprised how far selling boxes of Freddo Frogs goes), then there is nothing stopping you from putting on your own Fringe show. On top of that, the only way that you’re going to learn how to edit, produce, direct and act in a show well is by doing the work and being crap at the start. To paraphrase May again: making art is like making pancakes. The first one is always going to be soggy and inedible but when you get into the rhythm of it, you’re making a whole stack of perfect pancakes with bacon and maple syrup on the side.
To be slightly more practical
To be slightly more practical with this article, and to deal specifically with Edinburgh:
– Book accommodation early because it will fall through and by the time you find somewhere else to stay you’ll be so desperate you won’t mind paying to live in a closet for a thousand pounds a month.
– Don’t rehearse in your living room because it’s distracting and you’ll end up having to do twice the work for the same result.
– Look for a venue for a show early; those that run them will think you’re well organised and much more responsible than you really are, and in terms of Edinburgh’s geography with its winding stairways and bridges, the two points on the map that look close to each other may not be as close as you think.
– And finally when it comes to marketing, listen to everyone and no one’s advice, because there is no winning formula.
Don’t forget to delegate
Also, there is a lot of work on the producing side of the show, so don’t be a megalomaniac and think ‘the piece will speak for itself’. Delegate tasks as much as humanly possible, and respect the people who are putting together marketing and publicity materials. They are the ones who may well just find the right audience for you.
My follow up article might have a more philosophical wrap up once our Fringe run is over and I’ve had some sleep, but right now I’ve got to go to this show that’s starting soon and then I’ve got to go to this site specific thing that this random person told me was awesome. It’s at this vault and….
Murder at Warrabah House
TheSpaces @ Surgeons Hall (Venue 53)
Time: 22.35 (55m), until 20th August (except 14th).
Read the article where it was originally published here: