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Accessibility in fringe theatre is not just a matter of compliance—it is a commitment to inclusion. New tools like SlideTeller help ensure that the full experience of a performance is available to all, regardless of how someone receives it.

In the world of theater, the relationship between performers and reviewers can feel complicated. For some artists, the thought of a reviewer in the audience brings excitement and dread in equal measure. But at its best, the work of a reviewer is not about passing judgment from a distance, but about helping connect audiences to the art being made in their community.

“The best work is being done on Fringe stages. You can’t get more inventive, you can’t get more raw, and it’s everything that pushes my theatrical buttons,” Britt Lafied, SoHo Playhouse Managing Director.

Bringing a show to the Edinburgh Fringe Festival is not just about showcasing creativity; it also involves detailed planning and teamwork. For independent artists used to managing everything themselves, Edinburgh can feel quite challenging.

S2 E9 of What the Fringe?! Sam Gough, Chief Executive of Summerhall Arts Every August, thousands of artists descend on Edinburgh with a dream tucked under their arm: to make something bold, beautiful, and unforgettable. But with hundreds of venues, thousands of shows, and a city that becomes its own ecosystem, what actually  makes a Fringe show successful? According to longtime Fringe producer, arts advocate, and current Chief Executive of Summerhall Arts, Sam Gough, the rec

Fringe festivals thrive on bold creativity, but behind every sold-out show and glowing review is something less visible yet equally vital: community. For solo performer and producer Joanna Rannelli, the sense of belonging and mutual support found at fringe festivals has been the difference between simply putting on a show and building a sustainable artistic career.

As artists, our focus is on creating, and it’s easy to feel overwhelmed by the marketing tasks that seem to sap our energy.