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WTF is Fringe?

The whole thing traces back to 1947, when eight theatre groups showed up uninvited to perform alongside Edinburgh's official festival, and that "Why TF not us too" energy still runs through fringe today.

 

A fringe festival is built by the artists who show up to make it happen, not handed to them by one organization footing the bill and picking the lineup. Instead, fringe runs on shared risk: artists invest in their own participation, often producing and promoting their own work, while venues, audiences, and organizers all pitch in to build the platform together. While each festival is unique, the spirit stays the same: create room for original work to find its people.

 

At its core, fringe is about creative independence: artists taking ownership of their work and putting it into the world on their own terms. Now fringe festivals exist on nearly every continent, each with its own flavor, format, and community, all rooted in that same founding move of showing up and doing the work.

Why participate in a Fringe festival? Creative Independence.

 

Most fringe shows are original work because the artist has something to say. Fringe doesn't need a board's approval or guaranteed ticket sales, so the work can take chances, push the boundary of creativity, and follow the artist's unique vision.

 

Could you produce new work in your hometown? Absolutely. But fringe offers a relatively low-cost path to doing it, since many festivals shoulder a share of the financial burden and help bring audiences through the door. It's a true partnership between festival and artist.

 

Artists also choose fringe for the accolades, reviews, and awards that can open doors and strengthen a fundraising pitch.

 

With the right strategy and enough seasons under your belt, some performers build significant income during fringe season. It takes dedication and longevity, but it's possible, and it can be a real way to make a living creating on your own terms.

 

And it's just fun. Fringe artists are some of the kindest, most encouraging people you'll meet in theatre, and fringe audiences show up ready to root for you and take a chance on something new.

What is your WHY?

Before starting your fringe journey, you need to ask yourself: why? Why are you creating a fringe show? This will help guide your process and manage expectations. It is your true north and will keep you grounded when things get difficult. Your why can change, but it should always be revisited for every festival, and even during a festival.

 

There is no wrong answer to why, but knowing it will help you make the best decisions possible.

 

Here are a few reasons other fringe artists participate in fringe:

  • Creative Independence

  • To tell their story

  • To create & perform something unconventional

  • To travel

  • Just to have the experience

  • Financial opportunities in the arts (this takes time)

  • To be discovered and book a Netflix series (TBH: this is probably not going to happen, and if this is your goal, there might be some better routes to take than fringe)

The Fringe Ecosystem

Fringe festivals have three major operating systems:

Open Access

Any one can participate as long as they secure a venue. In this model, artists work directly with venues, and the festival coordinates the logistics of the event.

Lottery

Artists sumbit a short application, and usually a small fee. The festival conducts a draw, and whoever is drawn is invited to participate. In this model the festival manages logistics, venues, and artists. 

Curated

Artists submit a more lengthy application, and often a small fee. The festival slection committee then reviews applicants and creates a balanced season that will appeal to their patrons. 

Many festivals utilize a combination of these three types.

 

There are pros and cons to all of the systems. Don’t get too hung up on which system is best, focus more on if the festival itself is a good fit for your work.

 

There are over 300 fringe festivals in the world! And each one is unique. Festivals respond to a need in their community, and organize the festival in a way that best suits the needs of that community.

Edinburgh

  • Open access, most venues curated

  • The original and largest fringe in the world; third largest ticketed event globally, behind only the Olympics and World Cup

  • Home fringe for many Scottish and UK artists, alongside a truly international crowd drawn from across the UK and world

  • Strong arts market for producers and presenters scouting shows, plus ample review and award opportunities

United States

  • Mostly lottery-based, with some open access or curated

  • A growing scene, though many artists don't yet see self-producing as a viable path alongside Broadway and LA

  • Great opportunities for hometown artists; tougher odds for touring artists, since few slots cover large applicant pools

  • Review opportunities vary by festival, as arts journalism coverage has shrunk nationally

  • Most festivals give awards, often tied to ticket sales

Canada

  • Lottery-based, with some festivals adding curated or first-come venues

  • Organized under the Canadian Association of Fringe Festivals (CAFF, which includes a few US fringes too), setting a shared operating standard

  • Festivals run sequentially, east coast in June through west coast in September, making a full summer tour possible

  • Loyal audiences willing to take a chance on new work, with strong earning potential for returning artists

  • Opportunity for reviews and awards

Australia

  • Open access, most venues curated

  • Vibrant, nearly year-round fringe scene

  • Adelaide is the second largest fringe in the world, with a strong arts market especially for Australian artists

  • Often the next step after university for emerging artists

  • Good review opportunities

UK & Europe

  • Mix of open access and curated

  • UK has a large roster of festivals, many community-focused

  • Touring to Europe rewards research: most festivals welcome English-language work, but physical theatre, clown, burlesque, and circus tend to shine here

Baltic-Nordic Fringe Network

  • Primarily curated, built to help artists tour multiple festivals in the network

  • Smaller festivals that collaborate closely, with directors coordinating tours for international artists

  • A strong fit for avant-garde and boundary-pushing work. Social justice and culturally relevant pieces also do well.

Other Regions (Africa Asia)

  • A handful of fringes exist here; research each before applying, since some are local-only, some seek specific work, and some offer exchange programs

  • Travel costs run high, so a clear reason for going matters

Choosing a Fringe

Always start with your why. Then consider some of these aspects:

  • Do you know people in that town (to help get an audience)

  • Is your show a good fit for that community?

  • Do some research on the audience base. Festivals with a strong audience base tend to boost ticket sales. They have patrons who are fans of the festival and will see multiple shows and take chances on touring artists (ie- not just their friends).

  • Look at the festival’s history: is it run well? Most are!

  • Smaller and newer festivals are great options for gaining experience at a lower cost. Can be difficult for ticket sales if they haven’t yet built a loyal audience.

  • Larger festivals are great opportunities for exposure and ticket sales. They tend to cost more and take a lot more hustle to get noticed. 

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Fringe Festival Databases:

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Fringe Applications Tips: 

  • US & Canada: Applications vary and usually begin in the fall and run into the spring. BYOV is an option at some festivals, and usually opens up after the lottery draw. BYOV is really only a good option for people who have been to the festival before.

  • Edinburgh: begin reaching out to venues in Sep/Oct. Venue applications generally open in December.

  • Australia:

    • Perth/Adelaide Begin reaching out in June/July. Venue applications open around August. Adelaide also offers artist grants. Begin the process in June, as it takes time to create a strong grant package.

    • Sydney/Melbourne- start reaching out in Nov/Dec. Applications open in March.

  • Baltic-Nordic Fringe Network: probably start talking to them in Jan/Feb. Possibly Nov/Dec. (I haven’t done these so I’m not exactly sure)

  • UK/Europe/Other: you will need to research each festival to determine the best time to begin reaching out and applying.

 

PRO TIP For Lottery Festivals: make a list of festivals you want to attend along with their application deadlines, and apply when applications open.

 

PRO TIP For Open Access Festivals: start talking to venues a few months after the festival has ended, and continue through a few months before applications open. You want to be in conversations before applications open so that you can be on the venues’ radar. As soon as applications open, apply! Don’t wait.

Fringe Festival Recommendations

United States

  • Larger Festivals: Orlando, Minnesota, Rochester (choose venue wisely)

  • Mid-Size Festivals: Atlanta, Denver, Kansas City, Indy, Fallout Fest, Tampa, Cincinnati (curated), San Diego (award opportunities, smaller audiences), District Fringe (currently DC-only, one to watch as it opens up)

  • Smaller & Newer Festivals: Elgin, Omaha, Green Bay, Old Greeny, Tucson

  • Let’s Talk:

    • Hollywood: built for LA's local artist community. Strong on awards and exposure, tougher for touring artists. Best if you have LA connections and time to invest in networking with the local scene, which is trickier to do virtually.

    • Solofest (LA) and United Solo (NYC): both are built for solo shows with a higher entry cost and payoff worth considering. Solofest offers professional filming and award opportunities; United Solo offers multiple awards and Off-Broadway credit. Both require bringing your own audience and necessitate weighing against your goals.

Edinburgh

  • Venues are curated, so secure one first, then apply to the festival itself. Select a venue that best fits your show. 

  • Top Tier Venues (hard to land without connections or major accolades): Assembly, Gilded Balloon, Underbelly, Pleasance, Summerhall, Traverse

  • Second Tier Venues (apply early for a good shot; many offer shorter runs):

    • Greenside, Zoo Venues, theSpaceUK, Just the Tonic

    • Paradise Green, C Arts | C Venues, Braw Venues

  • Free/Low Cost Venues: PBH Free Fringe, Laughing Horse, Hoots

  • Comedy-focused Venues: Just the Tonic, Monkey Barrel

  • Independent Venues. Reach out early to build your season, and choose thoughtfully, since some sit far from the action with less support

Canada

  • Edmonton, Winnipeg, Saskatoon, Vancouver, Hamilton

  • Many festivals open BYOV slots after the lottery draw, a solid option even for first-timers depending on the festival

  • Toronto leans comedy; Montreal leans French/francophone

UK/Europe/Nordic

  • UK: mostly smaller local festivals; pairing one with a tour or add-on can be worthwhile, though a single trip for just one may not have a good ROI.

  • Europe and Baltic-Nordic: a great experience when your show is a strong fit for the festival

Australia / Oceania

  • Adelaide: strong arts market and a potential stepping stone to Edinburgh for shows that do well. Can be tough for first-timers. Comedy, clown, and burlesque thrive; theatre can work too, just with fewer venue options

  • Consider a double header (Perth/Adelaide or Melbourne/Sydney) and choose venues thoughtfully; comedy tends to perform best

  • New Zealand: smaller, community-focused festivals, best treated as an add-on or if you have local connections

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