The Fringe started life when eight theatre companies turned up uninvited to the inaugural Edinburgh International Festival in 1947. With the "official" festival using the city's major venues, these companies took over smaller, alternative venues for their productions. Seven performed in Edinburgh, and one undertook a version of the medieval morality play "Everyman" in Dunfermline Abbey, about 20 miles north, across the River Forth in Fife. These groups aimed to take advantage of the large assembled theatre crowds to showcase their own alternative theatre. Although at the time it was not recognised as such, this was the first Edinburgh Festival Fringe.
This meant that two defining features of the future Fringe were established at the very beginning – the lack of official invitations to perform and the use of unconventional venues. Originally, these groups referred to themselves as the "Festival Adjuncts" and were also referred to as the "semi-official" festival It was not until the following year, 1948, that Robert Kemp, a Scottish playwright and journalist, is credited with coining the title "Fringe" when he wrote during the second Edinburgh International Festival:
Round the fringe of official Festival drama, there seems to be more private enterprise than before ... I am afraid some of us are not going to be at home during the evenings!.
The word "fringe" had in fact been used in a review of Everyman in 1947, when a critic remarked it was a shame the show was so far out "on the fringe of the Festival". In 1950, it was still being referred to in similar terms, with a small 'f':
On the fringe of the official Festival there are many praiseworthy "extras," including presentations by the Scottish Community Drama Association and Edinburgh University Dramatic Society – Dundee Courier, 24 August 1950
The Fringe did not benefit from any official organisation until 1951, when students of the University of Edinburgh set up a drop-in centre in the YMCA, where cheap food and a bed for the night were made available to participating groups.
It was a few years before an official programme for the Fringe was created. John Menzies compiled a list of shows under the title "Other Events" in their omnibus festival brochure, but it was printer C.J. Cousland who was the first to publish a listings guide, in 1954. This was funded by participating companies and was entitled "Additional Entertainments", since the name "Fringe" was still not yet in regular usage. It also used a strange cover motif.
By that year, the Fringe was attracting around a dozen companies, and a meeting was held to discuss creating "a small organisation to act as a brain for the Fringe", or what The Scotsman called an "official unofficial festival". A first attempt was made to provide a central booking service in 1955 by students from the university, although it lost money, which was blamed on those who had not taken part.
Formal organisation progressed in 1959, with the formation of the Festival Fringe Society. The push for such an organisation was led by Michael Imison, director of Oxford Theatre Group. A constitution was drawn up, in which the policy of not vetting or censoring shows was set out, and the Society produced the first guide to Fringe shows. Nineteen companies participated in the Fringe in that year.
Not long after came the first complaints that the Fringe had become too big. Director Gerard Slevin claimed in 1961 that "it would be much better if only ten halls were licensed".
The artistic credentials of the Fringe were established by the creators of the Traverse Theatre, John Calder, Jim Haynes and Richard Demarco, in 1963. While their original objective was to maintain something of the Festival atmosphere in Edinburgh all year round, the Traverse Theatre quickly and regularly presented cutting-edge drama to an international audience at both the Edinburgh International Festival and the Fringe during August. It set a standard to which other companies on the Fringe aspired. The Traverse is occasionally referred to as "The Fringe venue that got away", reflecting its current status as a permanent and integral part of the Edinburgh arts scene.
The Pleasance, a venue since the first year of the Fringe, was also important in setting the artistic tone. Christopher Richardson, founder of the Pleasance Theatre Trust, became a major Fringe figure.
Over the first two decades of the Fringe, each performing group used its own performing space, or venue. However, by the late 1960s, the concept of sharing a venue became popular, principally as a means of cutting costs. It soon became common for halls to host up to six or seven different shows per day. The obvious next step was to partition a venue into two or more performing spaces; the majority of today's major venues fit into this category.
Problems then began to arise as the Fringe became too big for students and volunteers to deal with. Eventually in 1969, the Fringe Society became a constituted body, and in 1970 it employed its first administrator, John Milligan, who stayed until 1976.
Between 1976 and 1981, under the direction of Alistair Moffat, the number of companies performing rose from 182 to 494, thus the Fringe ascended to its current position as the largest arts festival in the world. At this point, the Fringe operated on only two full-time members of staff.
The professionalism of venues and of organisations greatly increased alongside this. In 1975, the church hall at Lauriston Place, used by Edinburgh University Theatre Company as Bedlam Theatre, was taken over by Richard Crane and Faynia Williams from the University of Bradford to house "Satan's Ball".
The early 1980s saw the arrival of the "super-venue" – locations that contained multiple performing spaces. By 1981 when William Burdett-Coutts set up the Assembly Theatre in the empty Georgian building Assembly Rooms on George Street (formerly the EIF Festival Club), the investment in staging, lighting and sound meant that the original amateur or student theatricals were left behind.
The following year, The Circuit was prominent; it was in fact a "tented village", situated on a piece of empty ground popularly known as "The Hole in The Ground". This was once the site of a church building (Poole's Synod Hall), which was converted to a cinema, and where the Saltire complex was subsequently built in the early 1990s. The new Traverse Theatre opened here in 1993.
There was still theatre done on a shoestring, but several cultural entrepreneurs had raised the stakes to the point where a venue like Aurora (St Stephen's Church, Stockbridge) could hold its head up in any major world festival.
In 1988 the Society moved from 170 High Street to its current expanded headquarters on the Royal Mile.
Eclecticism ruled the 1990s with acts like The Jim Rose Circus and Tokyo Shock Boys.
A computerised booking system was first installed in the early 1990s, allowing tickets to be bought at a number of locations around the city. The internet began to have an impact in 2000 with the launch of the Fringe's official website, which sold over half a million tickets online by 2005. The following year, a Half Price Ticket Tent, run in association with Metro newspaper, started offering special ticket prices for different shows each day. This sold 45,000 tickets in its first year.
In 2008, the Fringe faced the biggest crisis in its history when the computerised ticketing system failed. The events surrounding the failed box office software led to the resignation of Fringe Director Jon Morgan after only one full year in post. The resultant financial loss suffered by the Fringe Society was estimated at £300,000, which it was forced to meet from its reserves. These events attracted much comment from the UK and world media. More debts emerged as the year went on, and an independent report criticised the Board and the current and previous Fringe Directors for a failure of management and an inability to provide the basic service. The Board eventually decided that the post of "Director" (instituted in 1992 in lieu of "Fringe Administrator") would be abolished and replaced by a Chief Executive, to reinforce the Fringe head's basic administrative function. A report into the failure was commissioned from accountancy firm Scott-Moncrieff.
Several venues now use their own ticketing systems; this is partly due to issues of commissions and how ticket revenue is distributed, but was reinforced by this 2008 failure of the main box office. In 2008, Fringe Sunday – a vast free showcase of events held on The Meadows – was cancelled when a sponsor could not be secured. After an interim period, during which Tim Hawkins, formerly general manager of Brighton Komedia took charge, the established Edinburgh Book Festival and Fringe manager Kath Mainland was appointed in February 2009 to stabilise the situation, becoming the Fringe's first Chief Executive.
In 2009, theSpaceUK launched their multi-space complex at the Royal College of Surgeons. In 2011, a new all-year-round multi-arts festival venue, containing ten performance spaces, opened in the former Royal (Dick) Veterinary School under the name Summerhall.
In 2016, Shona McCarthy, who had led Derry-Londonderry's term as UK City of Culture, took over from Kath Mainland as Chief Executive.
Fringe venues come in all shapes and sizes, with use being made of nearly any viable space that is available, from regular theatres (e.g. the Traverse or Bedlam Theatre), function rooms (e.g. the Assembly Rooms), churches and church halls (e.g. the Quaker Meeting House, Paradise in Augustines), lecture theatres (George Square Theatre), conference centres, other university rooms and spaces, bars and pubs, temporary structures (The Famous Spiegeltent and the Udderbelly), schools, a public toilet, the back of a taxi, a double-decker bus and even in the audience's own homes.
The groups that operate the venues are also diverse: some are commercial and others not-for-profit; some operate year-round, while others exist only to run venues at the Fringe. Some are local, others are based in London and elsewhere and transfer to Edinburgh for August.
From the performers' perspective, the decision on where to perform is typically based on a mixture of cost, location (close proximity to the main Fringe hubs around the University is seen as an advantage), and the philosophy of the venue – some of whom specialise in amateur, school or college productions, some of whom are semi or wholly professional.
According to the Fringe Society, there were 258 venues in 2011, although over 80 of them housed events or exhibitions, which are not part of the main performing art genres that the Fringe is generally known for.
The main venue operators can broadly be split into four groups:The Big Four – Assembly, Gilded Balloon, The Pleasance, Underbelly. These are the largest venue operators, and in many cases the most long-standing (Underbelly being a relative newcomer with 15 years' history). They each operate multi-room venue complexes, often across multiple sites. They tend to specialise in comedy, and in 2008, they briefly and controversially tried to re-brand themselves as Edinburgh Comedy Festival.
Other paid venues – Besides the Big Four, there are a number of mid-scale operators running multi-room venues, and again sometimes operating across more than one site. These include C venues, Greenside Venues, Sweet Venues, Just the Tonic, Paradise Green and Momentum Venues. They may specialise in certain genres (comedy at Just the Tonic, theatre at Greenside Venues) or run a programme across all genres (C venues).
Free venues – Some promoters use a different financial model. Instead of charging performers to hire the room, and audiences to attend, they make their spaces available for free, with audiences making a donation at the end of the show if they have enjoyed it. These promoters tend to operate out of pubs and clubs – the rooms being made free to use as a way of boosting bar takings. The original Free Fringe was set up by comedian Peter Buckley Hill in response to the increasing costs to performers of appearing at the Fringe. Other "free" promoters, including former associates of Buckley Hill, have since adapted the model. Although strictly speaking "Free Fringe" refers to Buckley Hill's operation, it is now often used as shorthand for any free venue.
Pay What You Want – In 2013 comedian Bob Slayer introduced a new model to the Fringe, at his Heroes of Fringe venues, where punters could 'Buy a ticket in advance to guarantee a seat or Pay What You Want on exit'. The model takes the best of both worlds from Paid and Free and enables performoers to find a paying audience without risking large marketing spend. Phil Kay, Tom Binns and Miss Behave were amongst the first established acts to embrace this model along with Adrienne Truscott who won the Edinburgh Comedy Awards Panel Prize with a PWYW. Adam Hess was nominated for best newcomer in 2015 Other promoters such as Just the Tonic, Pleasance and C-Venues have since introduced the model to their venues. In 2016, Gilded Balloon adopted PWYW for the Counting House venue, which was previously a Free Festival venue.
There also continue to be single, independent venues, sometimes only hosting one show, sometimes only for a limited period.
Edinburgh has spawned many notable original shows and helped establish the careers of many writers and performers, including Rowan Atkinson, Steven Berkoff, Jo Brand, Billy Connolly, Ben Elton, Eddie Izzard and Tadeusz Kantor.
In 1960, Alan Bennett, Dudley Moore, Peter Cook and Jonathan Miller performed at the Royal Lyceum Theatre in Beyond the Fringe, introducing a new wave of British satire and heralding a change in attitudes towards politicians and the establishment. Ironically, this show was put together by the Edinburgh International Festival as a rebuff to the emerging Fringe. But its title alone helped publicise "the Fringe", especially when it went on to London's West End and New York's Broadway for the next 12 months.
Tom Stoppard's play, Rosencrantz and Guildenstern Are Dead was first performed in its full version at the 1966 Fringe.
It has also launched or advanced the careers of a number of noted actors, such as Derek Jacobi, who starred in a sixth-form production of Hamlet, which was very well regarded.
During the 1980s, the Fringe attracted a number of major touring companies. Joint Stock Theatre Company, a leading innovative touring company at that time, brought two productions to the Fringe – The Great Celestial Cow by Sue Townsend and Fire in the Lake by Karim Alrawi.
In 1986, the Fringe saw the break-out performance of Craig Ferguson as "Bing Hitler", a "parody of all the über-patriotic native folk singers who seemed to infect every public performance in Scotland.
In the 21st century shows that have debuted at the Fringe and then gone on to wider fame (or notoriety) include Stomp (theatrical show), Black Watch by the National Theatre of Scotland, and Jerry Springer: The Opera.
2003 saw a very successful production of 12 Angry Men staged at the Assembly Rooms using established comedians in the roles of the twelve jurors. It starred Owen O'Neill in the role made famous by Henry Fonda, Juror No. 8. Stephen Frost, Phil Nichol and Bill Bailey also featured.
A 2004 version of One Flew Over the Cuckoo's Nest was beset by problems, including the lead actor Christian Slater contracting chicken pox and the original director, Guy Masterson, quitting the project before it opened. Masterson was replaced by Terry Johnson.
In 2005, a production of Neil Simon's The Odd Couple starring Bill Bailey and Alan Davies was staged at the Assembly Hall, the meeting place on the Mound of the Church of Scotland. This had been taken over by Assembly Theatre and transformed into an 840-seat theatre.
The Tattoo set-up at Edinburgh Castle served as the 6,000-seat venue for a one-off performance by Ricky Gervais of his stand-up show Fame in 2007. Gervais was accused of greed and taking audiences away from smaller shows. Gervais donated the profits from the show to Macmillan Cancer Support.
In 2015 the Sherman/Nicholls original musical production of Love Birds made its premiere at The Pleasance.
It is possible to sample shows before committing to a full performance. For many years, the Fringe Club (variously in the High Street from 1971 and at Teviot Row House from 1981) provided nightly showcases of Fringe fare to allow audiences to sample shows. In its earlier years it provided a significant space for after-hours socialising at a time when Edinburgh's strict licensing laws meant a 10 pm pub closing time. The Fringe Club ceased operation in 2004, and various venues still provide "the Best of the Fest" and similar.
The best opportunity to sample shows used to be afforded by Fringe Sunday, started in the High Street in 1981 and moved through pressure of popularity to Holyrood Park in 1983. Fringe Sunday was held on the second Sunday of the Fringe when companies performed for free. Having outgrown even Holyrood Park, this showcase took place on The Meadows until 2008. Alternatively, on any day during the Fringe the pedestrianised area of the High Street around St Giles' Cathedral and the Fringe Office becomes the focal point for theatre companies to hand out flyers, perform scenes from their shows, and attempt to sell tickets. Many shows are "2 for 1" on the opening weekend of the Festival.
The concept of fringe theatre has been copied around the world. The largest and most celebrated of these spawned festivals are Adelaide Fringe Festival, National Arts Festival in Grahamstown, South Africa, and Edmonton International Fringe Festival. The number of such events continues to grow, particularly in the USA and Canada. In the case of Edinburgh, the Fringe is an addition to the Festival proper, being officially known as the Edinburgh Festival Fringe. Where there is no pre-existing Festival to be added to – such as New York (est. 1997) – or where the festival is more "fringe" than anything else, the word comes before the word "festival", thus the "Adelaide Fringe Festival." (est. 1979).
In the field of drama, the Edinburgh Fringe has premièred several plays, most notably Rosencrantz and Guildenstern Are Dead by Tom Stoppard (1966) and Moscow Stations (1994), which starred Tom Courtenay. Over the years, it has attracted a number of companies that have made repeated visits to the Fringe, and in doing so helped to set high artistic standards. They have included: the London Club Theatre Group (1950s), 7:84 Scotland (1970s), the Children's Music Theatre, later the National Youth Music Theatre under Jeremy James Taylor, the National Student Theatre Company (from the 1970s), Communicado (1980s and 1990s), Red Shift (1990s), Grid Iron and Fitchburg State University. The Fringe is also the staging ground of the American High School Theatre Festival.
In the field of comedy, the Fringe has provided a platform that has allowed the careers of many performers to bloom. In the 1960s, various members of the Monty Python team appeared in student productions, as subsequently did Rowan Atkinson, Stephen Fry, Hugh Laurie and Emma Thompson, the latter three with the 1981 Cambridge Footlights. Atkinson was at Oxford. Notable companies in the 1980s have included Complicite and the National Theatre of Brent. More recent comedy performers to have been 'discovered' include Rory Bremner, Fascinating Aïda, Reduced Shakespeare Company, Steve Coogan, Jenny Eclair, The League of Gentlemen, Flight of the Conchords, Al Murray and Rich Hall.
The first chair of the board of directors was Lord Grant, a High Court judge, who gave way in 1970 to the actor Andrew Cruickshank. He was succeeded in 1983 by Jonathan Miller, and then by Elizabeth Smith, Baroness Smith (widow of former Labour Leader John Smith). The current chair is Professor Sir Timothy O'Shea, who succeeded Baroness Smith in 2012.
The first full-time Fringe chief was former teacher, John Milligan, who left in 1976 to run the Craigmillar Festival. He was succeeded by writer and historian Alistair Moffat, who left in 1981 to become Head of Arts at Scottish Television. He was replaced by Michael Dale, who departed in 1986 to become Head of Events for the Glasgow Garden Festival. He was succeeded by his deputy, Mhairi Mackenzie-Robinson, who left in 1993 to pursue a career in business. Hilary Strong served in the position until 1999, when she then became director of the Greenwich Theatre. She was followed by Paul Gudgin (2000–2007), Jon Morgan (2007–2008), and Kath Mainland (2008–2016). In November 2015, Mainland announced her decision to step down as Chief Executive to take on the role of Executive Director of the Melbourne Festival, and in early 2016 it was announced that her successor would be Shona McCarthy, who had headed up the 2013 Derry~Londonderry UK City of Culture. She took up the position in March 2016.
The Fringe has made the careers of many on the artistic and organisational side of the Fringe. William Burdett-Coutts, Karen Koren, Anthony Alderson and Charlie Wood and Ed Bartlam, the directors of the so-called "Big Four" venues have become well-known on the cultural scene.
The first Fringe featured eight companies performing in five venues. By 1959, there were 19 companies; by 1969, 57; by 1979, 324. In 1981, there were 494, and the growth of the festival began to slow. But by 1999, there were over 600 companies giving 15,000 performances and in 2010, 1,900 giving 40,000.
Statistics for 2011 Edinburgh Festival Fringe concluded that it was the largest on record: there were over 40,000 performances of over 2,500 different shows in 258 venues. Ticket sales amounted to around 1.8 million. There are now 12 full-time members of staff.
Of the shows, theatre had been the largest genre in terms of number of shows until 2008, when it was overtaken by comedy, which has been the major growth area over the last 20 years. At the 2015 Fringe comedy was the biggest artform by number of shows, followed by theatre. The exact breakdown was: 34% comedy, 27% theatre, 14% music, 5% children's shows, 4% each cabaret/variety, dance/circus/physical theatre, spoken word, events, 3% musicals/opera, 2% exhibitions.
The 2015 Fringe issued an estimated 2,298,090 tickets for 50,459 performances of 3,314 shows in 313 venues over 25 days.
In addition to ticketed, programmed events, the Fringe Street Events hosted by Virgin Money run each day of the festival, primarily on the Royal Mile and at the Mound Precinct.
Many performers have spoken highly of the Fringe, and the effect it has had on their career. Magician Paul Daniels first appeared at the Fringe in the twilight of his career in 2013, and commented, 'I've become Edinburgh's publicity agent. I tell everybody, "You've got to be in it."'
The role of the Fringe Society is to facilitate the festival, concentrating mainly on the challenging logistics of organising such a large event. Alistair Moffat (Fringe administrator 1976–1981) summarised the role of the Society when he said, "As a direct result of the wishes of the participants, the Society had been set up to help the performers that come to Edinburgh and to promote them collectively to the public. It did not come together so that groups could be invited, or in some way artistically vetted. What was performed and how it was done was left entirely to each Fringe group". This approach is now sometimes referred to as an unjuried festival, open access arts festival or a fringe festival.
Over the years, this approach has led to adverse criticism about the quality of the Fringe. Much of this criticism comes from individual arts critics in national newspapers, hard-line aficionados of the Edinburgh International Festival, and occasionally from the Edinburgh International Festival itself.
The Fringe's own position on this debate may be summed up by Michael Dale (Fringe Administrator 1982–1986) in his book Sore Throats & Overdrafts, "No-one can say what the quality will be like overall. It does not much matter, actually, for that is not the point of the Fringe ... The Fringe is a forum for ideas and achievement unique in the UK, and in the whole world ... Where else could all this be attempted, let alone work?". Views from the middle ground of this perennial debate point out that the Fringe is not complete artistic anarchy. Some venues do influence or decide on the content of their programme, such as the Traverse and Aurora Nova, who used to run their own venue but are now just a production group.
A frequent criticism, well-aired in the media over the last 20 years, has been that "stand-up comedy is taking over" the Fringe, that a large proportion of newer audiences are drawn almost exclusively to stand-up comics (particularly to television comedy stars in famous venues), and that they are starting to regard non-comedy events as "peripheral". The 2008 Fringe marked the first time that comedy has made up the largest category of entertainment.
The freedom to put on any show has led periodically to controversy when individual tastes in sexual explicitness or religion have been contravened. This has brought some into conflict with local city councillors. There have been the occasional performing groups who have deliberately tried to provoke controversy as a means of advertising their shows.
In the mid-1990s, only the occasional top show charged £10 per seat, while the average price was £5–£7; in 2006, prices were frequently over £10, and reached £20 for the first time in 2006, for a one-hour show. Reasons people put forward for the increases include: increasing costs of hiring large venues, theatre licences and related costs—and the price of accommodation during the Edinburgh Festival, which is expensive for performers as well as for audiences.
In recent years, two organisations—The Free Fringe and The Laughing Horse Free Edinburgh Fringe Festival—have introduced free entry shows that collect donations at the end of each performance. 22 shows came under this banner in 2005, growing rapidly to over 600 in 2011. There was also the "pay what you can" model of the Forest Fringe, and "Pay What You Want" as introduced by Bob Slayer's Heroes of Fringe discussed above.
Putting on a show at the Fringe with the big venues can be costly to performers, due to registration fees, venue hire, cost of accommodation, and travel to Edinburgh. In recent years venue costs and the need for expensive marketing have been increasingly challenged by Free and other Independent venues. There is a change happening at the Fringe and performers can increasingly negotiate with the big venues. The festival is also a networking opportunity, training ground or springboard for future career advancement, and exciting and fun for performers as well as spectators.
Putting on shows is costly to venues as well, due to theatre licence fees which by 2009 had risen 800% in the preceding three years, and were eight times as high as fees in English cities, starting at £824 for a venue of up to 200 people and rising to £2,472 for a venue of up to 5,000 people. These fees have been cited as punitive to smaller venues and site-specific performances by such figures as Julian Caddy, which in 2009 featured site-specific shows in such venues as Inchcolm island and a swimming pool at the Apex International Hotel.
The Fringe itself at times sprouts a fringe. While the festival is unjuried, participating in the Fringe requires registration, payment of a registration fee, and use of a Fringe venue. For example, the 2008 registration fee was £289.05. Some outdoor spaces also require registration, notably the Royal Mile. Thus some artists perform outside the auspices of the Fringe, either individually or as part of a festival or in association with a venue, either outdoors or in non-Fringe venues.
Started by Deborah Pearson in 2007, and continuing in 2008, 2009, 2010 and 2011, under the co-directorship of Andy Field and Pearson, a primary "Fringe of the Fringe" festival is held, at The Forest, with support from 2008 to 2010 by the Battersea Arts Centre (BAC) and currently supported by several organisations including the Jerwood Foundation and Queen's University in Canada. The aim is to encourage experimentation by reducing costs to performers – not charging for space, and providing accommodation. The same applies to audiences: all shows being "pay what you can".
In 2012, there was criticism of the increasing commercialism of the Pay-To-Play fringe venues who charge acts to perform in advance of the fringe. In many cases venue costs such as: venue rents / guarantees, compulsory marketing and various deductions mean that performers are being charged more than they can make back in ticket sales.
Stewart Lee stated in The Guardian: "For decades, the Fringe has been a utopia for artists and performers – but now profit-obsessed promoters are tearing it to pieces." Heroes of Fringe (Previously called The Alternative Fringe) was set up by Bob Slayer as a statement against Pay-To-Play venues.
Some Fringe commentators agree that the Fringe will have to change and that the independent promoters are leading that change.
For many groups at the Fringe, the ultimate goal is a favourable review—which, apart from the welcome kudos, may help minimise financial losses from putting on the show.
Edinburgh based newspaper The Scotsman, known for its comprehensive coverage of the Edinburgh Festival, originally aimed to review every show on the Fringe. Now they are more selective, as there are simply too many shows to cover, although they do see almost every new play being staged as part of the Fringe's theatre programme, because of their Fringe First awards.
Other Scottish media outlets that provide coverage include: The Herald, Scotland on Sunday, Sunday Herald and the Scottish edition of Metro. Scottish arts and entertainment magazines The List and Fest Magazine also provide extensive coverage.
A number of independent reviewing organisations cover the Fringe, including Broadway Baby, ThreeWeeks, Chortle, FringeReview, and FringeGuru.
The now defunct Festival Media Network was founded in 2010 to act as a trade organisation for these independent media. Its members are Broadway Baby, Festival Previews, Fringe Guru, FringeReview, Hairline, iFringe, ThreeWeeks, The Podcast Network, and WhatsOnStage.
In 2012, the most prolific reviewers were Broadway Baby which published over 1900 reviews, ThreeWeeks, which published 1000 reviews during August, and The Scotsman with 826 reviews. The List published 480 reviews and WhatsOnStage.com published 52.
Most of the London-based broadsheets also review, in particular The Guardian and The Independent, while arts industry weekly The Stage publish a large number of Edinburgh reviews, especially of the drama programme.
Since 2010, the British Comedy Guide has collected over 4,300 reviews of around 1,110 different acts, across 83 different publications.
There are a growing number of awards for Fringe shows, particularly in the field of drama:The Scotsman introduced the prestigious Fringe First awards in 1973. These awards were established by Scotsman arts editor Allen Wright to encourage new theatre writing, and are given only to new plays (or new translations), and several are awarded for each of the three weeks of the Fringe – usually by a celebrity at a prestigious ceremony.
Herald Angels and Archangels are awarded by the team of arts writers of The Herald to performers or shows deemed worthy of recognition. Similar to Fringe Firsts, they are given each week of the Fringe.
The Stage has awarded the Stage Awards for Acting Excellence since 1995. Around a dozen awards are given out each year, including a Special Award, given for the first time in 2014. Winners of the Special Award to date include Chris Goode (2014) and Pip Utton (2015).
Total Theatre has presented their Total Theatre Awards for excellence in the field of physical and visual theatre since 1997. The categories under which these awards are given vary from year to year. A notable addition in 2007 was the inclusion of a Wild Card award chosen by the festival-going public.
Amnesty International introduced the Amnesty Freedom of Expression Award in 2002.
The Carol Tambor Best of Edinburgh Award for best drama was introduced in 2004. To be eligible for this award a show must have received a four or five star rating in The Scotsman and must not have previously played in New York, as the prize is to put the show on in New York.
The ThreeWeeks Editors' Awards was introduced in 2005 and are given to the ten things that have most excited the ThreeWeeks editors each year.
The Bobby was launched by Broadway Baby in 2011 and are given to the best shows of the festival as decided by the Broadway Baby judging panel. In 2012 a second type of Bobby was launched called the Technical Bobby, awarded for technical achievement at the Fringe, such as lighting or set design.
The Terrier Awards (hosted by The Scotsman Piano Bar) joined The Tap Water Awards (hosted by the Holyrood Tavern) as alternative awards in 2006.
The Edinburgh Musical Theatre Awards were introduced in 2007 by Musical Theatre Matters, to encourage the writing and production of new musicals on the Fringe.
The Holden Street Theatres Edinburgh Award are presented at The Scotsman Fringe Awards Ceremony. The award offers an outstanding production the opportunity to tour as the headline act for Holden Street Theatres in its Adelaide Fringe Program in the following year.
The Perrier Awards for Comedy came into existence in 1981 when the award was won by the Cambridge Footlights. (Two further award categories have since been added.) Perrier, the mineral water manufacturer ended its long association in 2006 and was succeeded by the Scottish-based company Intelligent Finance. In 2009 IF also withdrew and could not be replaced so the awards are now temporarily being funded by promoter Nica Burns and rebranded as the Edinburgh Comedy awards, or "Eddies".
The Malcolm Hardee Award "for comic originality of thought or performance" is to be presented for ten years, 2008–2017. An initial one-off Malcolm Hardee Award had been made at the Fringe in 2005, the year of Hardee's death, to American musical comic Reggie Watts.