Do the ‘Big Four’ venues dominate the Fringe to an unhealthy degree?
The Edinburgh Festival Fringe is a renowned gathering of creative talent and cultural wealth. It also triggers considerable debate, with many considering its current model unsustainable. The sheer volume of performances has led to increased costs for artists, making it difficult for smaller acts to participate. Many feel that ‘Big Four’ venues dominate the Fringe to an unhealthy degree.
The Free Fringe model, pioneered by Peter Buckley Hill and his associates, has emerged as a significant attempt to address these issues. It seeks to provide a more accessible and egalitarian space within the larger Fringe ecosystem, challenging the prevailing commercial pressures and promoting a more diverse range of artistic voices. This article combines personal experiences of the Free Fringe (as an attendee and reviewer) and discussions with its representatives and performers, examining how they articulate its cultural and political vision. It also scrutinises how they respond to various critiques made of it and how the Free Fringe creatively channels a sense of marginalisation.
Scottish Affairs Volume 34, Issue 3