Article
Comedy
Culture
5 min read

Edinburgh's grim endurance test of character

How a comedian survived the Fringe and kept going back.

James is a writer of sit coms for TV and radio.

Three actors stand on a stage, in costume, surrounding a metal conical structure.
Expensive prop? Check. Just Out of Reach performed at the Edinburgh Fringe Festival in 2008.
EFFC, Public domain, via Wikimedia Commons.

This article was first published 22 August 2023.

The Edinburgh Fringe Festival is probably the greatest arts festival on earth. And it’s getting bigger every year. In 2001, 666 groups presented 1462 shows in 176 venues, selling 873,887 tickets between them. By 2017, everything had doubled. 3398 shows at 300 venues sold 2.9 million tickets. Even Covid19 couldn’t burst the balloon. This year, the Fringe is as big as ever. How does it keep on growing? 

I have a controversial theory based on my experience as a Fringe performer. And it’s not about the insatiable demand for tickets, but the strange supply. Let me explain. 

Every year, tourists arrive in Scotland’s capital to sample an exciting buffet of comic and dramatic treats, alongside a smorgasbord of bizarre spectacles. It’s a hit-and-miss affair, for sure. But most punters know that most shows are, well, a punt. The fringe programme contains comedians, theatre troupes and performers you’ve never heard of performing something that’s rather hard to get one’s head around, until one’s seen it. And sometimes not even then. 

The average Fringe goer might well take in half a dozen shows over a long weekend. One might be a favourite Mock the Week comedian of the telly in a venue that seats 800. But the rest are small, intimate, dank spaces that may be uncomfortably packed, or embarrassingly empty. Again, that’s all part of the experience. Add some beers, some unfamiliar street food and just enough sleep to function, and that’s the Edinburgh Fringe experience. 

Spare a thought for the thousands of performers you leave behind. There are the ones trapped in that outré fringe show which runs until the end of the month. 

Except it’s only one side of it, oh Fringe goer. As you jump on a train from Waverley station and return to the office with a sore head and some good stories about some weird outré theatre that really didn’t work, spare a thought for the thousands of performers you leave behind. There are the ones trapped in that outré fringe show which runs until the end of the month, doomed to perform the same deeply flawed show twenty-seven times, like Sisyphus rolling his rock up the hillside. 

If you’re a fringe performer, and I speak from the experience of having performed or produced various shows at the Edinburgh Fringe between 1996 and 2017, things are rather different. 

The Edinburgh Fringe is not a talent show where the obscure but gifted performer finds an audience, acclaim and fame through sheer hard work and pluck. That is the experience of a few, but for most, the Fringe is more like running a marathon in the rain wearing an amusing but extremely absorbent fancy-dress costume. It is a test of grim endurance. 

It’s not just an endurance of physical stamina, although the odd hours, the alcohol and the ill-advised street food all take their toll. Ultimately, the Edinburgh Fringe is a month-long examination of character. You will experience emotions and feel frustrations that only happen in this annual cauldron of dysfunctional ambition. 

It’s not about the show. The 60 minutes spent on stage in front of the barely adequate lights is the straightforward part of your day. The show, even if it’s improvised, is broadly the same each time. How you spend the other 23 hours is real test. 

You might think that the task is simple. Every day, you leap out of bed, eat a hearty Scottish breakfast, grab your stack of flyers, and go out and spread the word about your show. No? 

Here’s the problem: within a week or so, you’ve worked out that your show is not what you thought it was. What seemed to be an hilarious off-the-wall idea back in February, now seems like a joke worn thin, that technically didn’t quite work in the first place. You are not in contention for an award. Your show doesn’t have any ‘buzz’. Your temporary friends console you that you’re being penalised by doing something different. Or you’re in the wrong slot. Or in the wrong venue. Or getting the wrong audience… when you get an audience. 

The expensive prop from your show that is carried around the streets to sell tickets now feels like an albatross around your neck. Your costume hasn’t been washed for over a week and probably never will be. And every punter you speak to has already booked to see the hot new show that has captured the zeitgeist. Oh, and the Cambridge Footlights. And that comedian who was on Mock the Week. Or as it Live at the Apollo? And then they’re going out to dinner with some friends. 

At that moment, you remember how much this is costing you, the largest amount of your budget going to your temporary landlady who is currently sunning herself in Malaga having rented you her broom cupboard. 

And then it starts to rain. 

There’s something about the Edinburgh Fringe that keeps performers coming back year after year. Next year, it’ll be different. And it isn’t. 

It appears that I have not made my case for the continual expansion of the Edinburgh Fringe. I have demonstrated a thousand reasons to abandon Auld Reekie and never to return. But let me tell you about what happens next to our hapless performer. 

In the short term, the embittered, disenchanted performer may give in to the seven deadly sins, justifying all kinds of self-destructive and narcissistic behaviour. Terrible food, too much booze and ill-advised liaisons. But this is Edinburgh where everything is multiplied many times over. It’s not the seven deadly sins, but seventy-seven deadly sins. 

In fact, wait. ‘The Seventy Seven Deadly Sins’? Is that an idea for a show for next year? You start to design the flyer in your head. In the midst of your frustration and exhaustion, you’re already planning your return next year. 

Here’s where the wisdom of the ages kicks in which explains my theory. In the Bible, there is a wonderful proverb from King Solomon which runs thus: “As a dog returns to its vomit, so fools repeat their folly.” There’s something about the Edinburgh Fringe that keeps performers coming back year after year. Next year, it’ll be different. And it isn’t. But maybe the year after it will be. And so every year, alongside the newcomers, the old timers return with a new show. And the fringe grows a little bit more every year. 

Actually, the first half of that proverb sounds like a great title for a Fringe play. And after my years of experience, maybe it’s time I went back… 

Review
Books
Culture
Podcasts
Re-enchanting
5 min read

The book, the ritual, and the reader

Season 7 of Re-Enchanting explores how books shape our habits and our search for meaning

Tom Rippon is Assistant Editor at Roots for Churches, an ecumenical charity.

  A reader sits on a sofa with a raised leg and holds a book
Jonathan Sanchez on Unsplash.

When was the last time a book elicited spontaneous reverence from you? It’s something of a cliché to say that books take you on a journey, but sometimes a book comes along which simply demands to be read with ceremony.  

This is the experience of the writer Donna Freitas, just one of the guests welcomed onto season 7 of the Re-enchanting podcast. In her conversation with Belle Tindell and Justin Brierley, she describes how her morning routine of coffee and a book has practically attained the status of a ritual for her. Freitas describes the deliberate preparations she made for the final chapter of Alice Winn’s In Memoriam, a historical novel exploring the relationship between two young soldiers in the trenches of the First World War as their idealised understanding of war shatters and their suppressed feelings for one another play out against a shifting backdrop of class, national identity and belonging. Freitas’ ceremonial approach to finishing her book - you’ll have to listen to the episode to hear more about this - may sound somewhat unusual at first for the respect and honour that it implies is due to a book, but this notion of textual reverence finds a distant echo in the Christian faith, where the Word, living and written, is central. 

Freitas’ particular experience of faith is recounted in her book, Wishful Thinking: How I Lost My Faith and Why I Want to Find It, but listening to her description of her reading experience posed its own questions for me. At what point does habit become ritual? And how do we distinguish between them? Even as people develop individual, secular rituals to give rhythm to their lives, this does not always translate into an openness towards religious ritual. Does this mean that ritual today is understood as an individual, rather than shared, activity? Despite some evidence suggesting a revival of sorts in the Christian faith, most of the growing churches in the UK tend place more emphasis on spontaneity than ritual, but perhaps our continued desire for ritual and familiarity should give mainstream churches a reason to pause in their current approaches to church planting?  

Either way, for many of us, a home-grown ritual of an enticing cup of coffee paired with the smooth, dry pages of a book first thing in the morning may simply sound like an inviting, yet sadly unattainable, prospect. Sometimes just getting everyone and everything out the door on time constitutes an epic in itself. However, since there’s no harm in fantasizing, let’s peruse the Re-enchanting back-catalogue for more reading recommendations. 

Looking back over season 7 of Re-enchanting, I’m struck by how popular biography remains amongst our guests’ reading choices. Nadim Ednan-Laperouse recommends Heidi Barr’s autobiographical account of the near-death experience which led to her conversion from Orthodox Judaism, What I Saw in Heaven. Lamorna Ash, whose work explores the softening of Gen Z’s attitude towards Christianity, appropriately lends balance to her Re-enchanting moment with her recommendation of John Stuart Mill’s autobiography, which recounts his journey away from faith. The faith landscape in the UK is certainly shifting at the present time and perhaps the only way to truly understand these shifts is to read both sides of the story. We need to read about journeys away from faith as much as journeys to faith in order to understand the society in which we work and witness. A data scientist might call these eliminating biases, a literary critic might call it awareness of an unreliable narrator.  

Telling the story of someone’s life is at the centre of Bear Grylls’ most recent work, The Greatest Story Ever Told, in which he retells the life of Jesus through the eyes of those around him. The emergence of the faith is told from the perspective of those coming to faith, a hint perhaps that faith has to be remade, reborn, resurrected even, afresh for each person. Read Bear Grylls’ own take on his book, written for Seen & Unseen earlier this year. 

Grylls’ own work seems to have an almost essay-like quality through its short, accessible chapters and essay collections seem popular amongst our other guests as well. Lamorna Ash also recommends Pulphead by the journalist John Jeremiah Sullivan, a collection of essays spanning topics from eco-anxiety and the blues to the Tea Party and Christian rock, each giving a brief insight into the concerns and ponderings of a thousand other minds. It strikes me that such collections are the literary equivalents of hitting shuffle play, the perfect fit for those reading rituals that have to be scattered in-between other moments of activity. If you’re searching for some faith-based content for these moments, then I recommend Richard Carter’s Letters from Nazareth, a collection of meditations from the contemplative tradition written for those ‘catch your breath’ moments in the day. 

Alternatively, if it’s escapism and adventure that you are after in these moments, then take up Grylls’ own suggestion, The Wager: A Tale of Shipwreck, Mutiny and Murder, by David Grann, a true story yet wildly adventurous. For those in search of more light-hearted reading, then turn to another stalwart of Re-enchanting reading lists, C.S. Lewis, whose The Silver Chair comes recommended by NYT columnist and author, Ross Douthat. As Lewis himself said, ‘a children’s story that can only be enjoyed by children is not a good children’s story in the slightest.’ Perhaps it’s time to put Lewis’ own works to the test. 

Long summer days of the kind envisaged in children’s books may now be a distant memory for most of us, but with each change in season comes a new reason to pick up some reading material. I hope these autumnal days with their familiar ritual of falling leaves lead to a home-grown ritual of turning leaves for you. 

  

Some further suggestions: 

  • Letters from Nazareth by Richard Carter – Meditations on home from St Martin-in-the-Fields. 

  • Her First American by Lore Segal – An exploration of Jewish-Black trauma and solidarity in 1950s New York. 

  • seven steeples by Sara Baume – A meditative novel on the rhythmic course of life in rural Ireland. 

  • How Bad Are Bananas? by Mike Berners-Lee – Bite-sized explanations of our place in a changing climate. 

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