Edinburgh Festival Fringe

The gate for the street fair portion of the festival on the Royal Mile, in August 2007.

The Edinburgh Festival Fringe (The Fringe) is the world’s largest arts festival.[1] Established in 1946 as an alternative to the Edinburgh International Festival, it takes place in Scotland's capital during four weeks every August alongside several other arts and cultural festivals, collectively known as the Edinburgh Festival, of which the Fringe is by far the largest.[1]

The Fringe mostly attracts events from the performing arts, particularly theatre and (the big growth area in recent years) comedy, although dance and music also figure significantly: in 2009 35% of shows were comedy and 28% were theatre.[1] Theatre events can range from the classics of ancient Greece, William Shakespeare and Samuel Beckett, through to new works, and in 2009 37% of shows were world premieres.[1] However, there is no selection committee to approve the entries – it is an unjuried festival – so any type of event is possible: the Fringe often showcases experimental works which might not be admitted to a more formal festival. In addition to ticketed events (included in the programme), there is an ongoing street fair, particularly on the Royal Mile. The organisers are the Festival Fringe Society: they publish the programme, sell tickets and offer advice to performers from the Fringe office on the Royal Mile.

By way of scale, Fringe 2009 sold 1,859,235 tickets[2] for 34,265 performances of 2,098 shows in 265 venues, over 25 days,[1] for an average of over 74,000 admissions and 1,300 performances per day. There were an estimated 18,901 performers, from 60 countries.

Contents

History

Typical Fringe Scene

Early years

The Fringe started life when eight theatre companies turned up uninvited to the inaugural Edinburgh International Festival in 1947. Seven performed in Edinburgh, one undertook a version of the mediaeval morality play "Everyman" in Dunfermline Cathedral about 20 miles north across the river Forth in Fife. These groups aimed to take advantage of the large theatre crowds expected and showcase their own, more alternative, theatre. The Fringe got its name in the following year (1948) after Robert Kemp, a Scottish playwright and journalist, 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!’.

There was no organisation initially until students of the University of Edinburgh set up a drop-in centre in 1951 in the YMCA where cheap food and a bed for the night were made available to participating groups. It was 1955 before the first attempt was made to provide a central booking service.[3]

The advent of the Fringe was not warmly greeted by some sections of the International Festival (and the Edinburgh establishment), leading to outbursts of animosity between the two festivals. This lasted well into the 1970s.

In 1959 there came the first signs of organisation with the formation of the "Festival Fringe Society". 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 all Fringe shows. 19 companies attended the Fringe in that year.

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 on both the Edinburgh International Festival and on 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.

Problems began to arise as the Fringe became too big for students and volunteers to deal with. Eventually in 1969 the Society became a constituted body, and in 1970 it employed its first administrator, John Milligan.[3]

Under the second Fringe administrator Alistair Moffat, between 1976 and 1981, the number of companies performing rose from 182 to 494, thus achieving its position of the largest arts festival in the world. In 1988 the Society moved from 170 High Street to its current expanded headquarters on the Royal Mile. Since then the Society has increased the amount of technology used by introducing computerised ticketing and in 2000 the Fringe became the first arts organisation in the world to sell tickets online in real time.[3]

The Fringe today

A street performer on the Royal Mile, with volunteer (2004).

The Fringe has grown dramatically since its inception. Statistics for 2009 Edinburgh Festival Fringe concluded that it was the largest on record: there were 34,265 performances of 2,098 different shows in 265 venues. Ticket sales amounted to around 1.8 million.

Of the 2000+ shows, theatre was 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. The other genres are, in order of number of shows: Music, Dance & Physical Theatre, Musicals & Opera, and Children's Shows, in addition to assorted Events and Exhibitions.

It is possible to sample some shows before committing to seeing them. For many years, the Fringe Club (variously in the High Street and at Teviot Row from 1981 to 2004) provided nightly showcases of Fringe fare to allow audiences to sample shows before purchasing tickets. The Fringe Club closed down in 2004, and various venues still provide "the Best of the Fest" and similar. The best opportunity is 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 part of their show for free. Having outgrown even Holyrood Park, this 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.

During the 2006 festival 20 venues got together to form the Associated Independent Venue Producers (AIVP). Its main role is to lobby public bodies for better publicity for the Fringe, and to seek improvements to Edinburgh's infrastructure to support increased numbers of festival-goers.

Venues

The Pleasance Courtyard during the 2006 Edinburgh Festival Fringe

According to the Fringe Society there were 265 venues in 2009, although over 80 of them housed event(s) or exhibition(s) which are not part of the main performing art genres that the Fringe is generally known for.

Over the first 20 years each performing group had its own hall. However, by around 1970 the concept of sharing a hall became popular, principally as a means of cutting costs. It could be possible to host up to 6 or 7 different shows per day in a hall. The obvious next step was to partition a venue into two or more performing spaces; the majority of today's venues fit into this category. This approach was taken a stage further by the early 1980s with the arrival of the "super-venue" – a location that contains multiple performing spaces. The Circuit was one of the early super-venues; it was in fact a "tented village”, including one space with room for an audience of 400, that was situated on a piece of empty ground, popularly known as “The Hole in The Ground”, once the site of a snooker club, where the Saltire complex, which now houses the Traverse Theatre, was subsequently built in the early 1990s.

Nowadays, venues come in all shapes and sizes, with use being made of every conceivable space from proper theatres (e.g. Traverse or Bedlam Theatre), custom-made theatres (e.g. Music Hall in the Assembly Rooms), historic castles (C venues), to lecture theatres (Pleasance, George Square Theatre and Sweet ECA), conference centres, other university rooms and spaces, temporary structures (The Famous Spiegeltent and the Udderbelly ), churches and church halls, schools, a public toilet, the back of a taxi, and even in the audience's own homes.

The groups that operate the venues are also very diverse: some are commercial and others not-for-profit; some operate year-round, while others exist only to run venues at the Fringe. Many are based in London.

From the performers' perspective, the decision on where to perform is typically based on a mixture of cost, location (close proximity to other venues is seen as a plus), and the philosophy of the venue – some of whom specialise in amateur, school or college productions, some of whom are semi or wholly professional.

The professionalism of venues and of organisations has increased hugely. 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 Bradford University in 1975 to house "Satan's Ball". This was an ambitious benchmark production which inspired others. By 1980 when William Burdett-Coutts set up Assembly Theatre in the 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 had been left behind. 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.

Computerised box office

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 arrived in 2000 with the launching of its official website, which sold over half a million tickets online by 2005. In the following year, a Half Price Ticket Tent was added in association with Metro, offering special ticket prices for different shows each day, selling 45,000 tickets in its first year.

The official website lets people post their own reviews and ratings for shows. In 2005 a text rating system was introduced, whereby audience members could text ratings out of 5 from their mobile phones for shows they have seen.

Several venues use their own ticketing systems; this is partly due to issues of commissions and how ticket revenue is distributed,[4] and was reinforced by the 2008 failure of the main box office.

2008 problems

In 2008 the Fringe faced the biggest crisis in its history when the computerised ticketing system failed. The director of the Fringe resigned and the Board decided that the post of "Director" (invented in 1992 after years of being called "Fringe Administrator") would be abolished and replaced by a Chief Executive, thus reinforcing the Fringe chief's basic administrative function. A report into the failure was commissioned from accountancy firm Scott-Moncrieff.[4]

In March 2008 the Fringe Society contracted Pivotal Integration of Glasgow to supply a new computerised box-office system. The supplied system, Liquid Box Office, failed on 9 June 2008, the first day of advance sales, unable to cope with the volume of transactions. The Fringe Society was unable to sell tickets until 11 July 2008. Before the start of the 2008 Fringe, the VIA ticketing software as used by the 'Big Four' (i.e. Assembly, Pleasance, The Gilded Balloon and Underbelly) was installed in the Fringe Box Office, initially to sell for those venues and reduce the load on Liquid.[5]

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 has been 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. To make matters worse, Fringe Sunday – a vast free showcase of events held on the Meadows – was cancelled as a sponsor could not be secured.[6] After an interim period where Tim Hawkins from Brighton held the reins, established Edinburgh Book Festival and Fringe manager Kath Mainland was appointed in February 2009 to stabilise the situation and became the Fringe's first Chief Executive.

On 15 June 2009 the Fringe Box Office opened with £275,873 being taken for 35,350 tickets by the end of the first day of trading to the general public.[7] While these were record sales and declared a success by Mainland, initial lengthy queues and delays were experienced by those seeking tickets on the Royal Mile.[8]

Notable shows

Edinburgh has spawned many notable original shows of which Tom Stoppard's play "Rosencrantz and Guildenstern Are Dead" (1966) is the first. 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.[9]

The 1986 Fringe saw the breakout 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."[10]

2003 saw a 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 #8. Stephen Frost, Phil Nichol and Bill Bailey also appeared.[11]

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.[12]

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.[13]

The Tattoo set-up at Edinburgh Castle served as the 6,000-seat venue for a one-off performance by Ricky Gervais of his latest stand-up show Fame in 2007. Gervais was accused of greed[14] and taking audiences away from smaller shows. Gervais donated the profits from the show to Macmillan Cancer Support.[15] The 2009 Festival included the 1st ever on-line performance art fringe show, a ticketed event by Russian-born Mikhail Tank.[16]

In 2009 Scott Mills in conjunction with his drive time radio show (The Scott Mills Show) created a musical based on Mills' life, the musical received 5 star reviews from several critics. Auditions took place for a chance to play Mills himself in the musical. The musical is still available to watch online at http://www.bbc.co.uk/radio1/scottmills/musical/video.shtml

Fringe legacy

The concept of Fringe Theatre has been copied around the world. The largest and most celebrated of these spawned festivals are Adelaide Fringe Festival and Edmonton International Fringe Festival. The number of such events continues to grow, particularly in the USA and Canada. In the case of Edinburgh (est 1947) the Fringe is an addition to the Festival proper. Hence the Edinburgh Festival Fringe. But where there is no actual 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 & 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), and Grid Iron. 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 Aida, Reduced Shakespeare Company, Steve Coogan, Jenny Eclair, The League of Gentlemen, Al Murray and Rich Hall.

Criticism

Unjuried festival

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 or a fringe festival.

Quality

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 the now defunct Aurora Nova.

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.[17]

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. Needless to say, there have been the occasional performing groups who have deliberately tried to provoke controversy as a means of advertising their shows.

Ticket prices

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 £10+ and £20 was reached for the first time in 2006 for a show that lasted 1 hour. Some of the reasons that are put forward for the increases include: the increasing costs associated with hiring large venues; theatre licences and related costs; plus the price of accommodation during the Edinburgh Festival which is expensive for performers as well as for audiences.

In recent years a different business model has been adopted by two organisations; The Free Fringe and The Laughing Horse Free Edinburgh Fringe Festival have introduced the concept of the free show. There were 22 shows that came under this banner in 2005, growing to 69 in 2006 and 320 in 2007. Ninety-percent of these free shows are comedy. There is also the "pay what you can" model of the Forest Fringe, discussed below.

Costs to performers

Conversely, putting on a show at the Fringe is costly to performers,[18] due to registration fees, venue hire, cost of accommodations, and travel to Edinburgh. There are graduated registration fees, inexpensive venues, and inexpensive accommodations, but despite this, few shows even break even. Instead, the festival is touted as a networking opportunity, training ground or springboard for future career advancement, and exciting and fun for performers as well as spectators.[19]

Costs to venues

Putting on shows is costly to venues as well, due to theatre license 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.[20] These fees have been cited as punitive to smaller venues and site-specific performances by such figures as Julian Caddy of Sweet Entertainments, which in 2009 featured site-specific shows in such venues as Inchcolm island and a swimming pool at the Apex International Hotel. Further, since fees are charged per postal address, they are cited as discriminating against smaller venues by such figure as Anthony Alderson, director of Pleasance, one of the largest venues.

Fringe of the Fringe

The Fringe at times itself sprouts a fringe. While the festival is unjuried, participating in the Fringe requires registration, payment of a registration fee,[18] and use of a Fringe venue. For example, the 2008 registration fee was £289.05.[21] Some outdoor spaces also require registration, notably the Royal Mile.[22][23] Thus some artists perform outside of 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. By way of illustration, in 1987 there was a "Fringe Fringe",[24] and in 2007 Etiquette, a show by the London group Rotozaza, took place in the cafe of the Aurora Nova venue (an official Fringe venue) and tickets were available through the venue box office, but the show was not part of the Fringe, due to registration fees.[25] Starting in 2007, and continuing in 2008 and 2009, a primary "Fringe of the Fringe" festival is the Forest Fringe,[26] at The Forest, in association with the Battersea Arts Centre (BAC). The aim is to encourage experimentation by reducing costs to performers – not charging for space, and providing accommodation. The same applied to audiences: all shows being "pay what you can".[27]

Reviews and awards

Sources of reviews

For many groups at the Fringe the ultimate goal is a favourable review which, apart from the welcome kudos, may help to minimise any financial losses that are suffered in putting on the show.

Edinburgh based newspaper The Scotsman, often seen as the 'bible' of the Edinburgh Festival for its comprehensive coverage, originally aimed to review every show on the Fringe. They now have to be more selective, as there are simply too many shows to cover, although they do see more or less 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.

Several organisations have appeared in recent years who freely offer a comprehensive mixture of printed and web-based reviews. They aim to cover shows that are missed by the larger organisations. They include: Edinburghguide.com, ThreeWeeks; Broadway Baby Fringe Review, and Fringe Guru, to name but a few. Garden Sessions are an internet based outlet which provides coverage on its weekly radio show, as well as reviews on folk music and the more traditional aspects of the festival. ThreeWeeks, Broadway Baby, Fringe Review, and Fringe Guru have collaborated for the 2009 Festival to produce iFringe, an iPhone application that collates all of their reviews and allows for reading on the go.

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.

In addition, journalists / reviewers from all over the world are in Edinburgh during the festival, and their reports and reviews appear in media outlets around the globe.

Awards

Gabriel Byrne holding his Herald Angel

There are a growing number of awards for Fringe shows, particularly in the field of drama:

Purely for comedy:

The Malcolm Hardee Award

See also

References

  1. ↑ 1.0 1.1 1.2 1.3 1.4 "Fringe Facts". Edinburgh Fringe Festival. http://www.edfringe.com/area.html?r_menu=global&id=48. Retrieved 2 September 2009. 
  2. ↑ Fringe 2009 Ends on a High Note
  3. ↑ 3.0 3.1 3.2 "History of the Edinburgh Festivals". Edinburgh Festival. http://www.edinburghfestivalpunter.co.uk/HistoryOfFestivals.html#_The_Fringe. Retrieved 2 April 2008. 
  4. ↑ 4.0 4.1 Review of the Box Office System Project
  5. ↑ Festival Fringe Society Limited: Review of the Box Office System Project, Scott-Moncrieff
  6. ↑ Edinburgh Fringe may seek £600,000 bail-out, Severin Carrell, The Guardian, 10 January 2009
  7. ↑ Phew! Fringe's new box office holds up
  8. ↑ Ticketing system is new but it's same old problems for Fringe, 16 June 2009, by Brian Ferguson, The Scotsman
  9. ↑ First knight of nerves for Derek Jacobi and A Bunch of Amateurs
  10. ↑ Andy Borowitz (1 October 2009). "The Scotsman". The New York Times. http://www.nytimes.com/2009/10/04/books/review/Borowitz-t.html. Retrieved 6 November 2009. 
  11. ↑ "Twelve Angry Men's description". Chortle. http://www.chortle.co.uk/shows/edinburgh_fringe_2003/t/873/twelve_angry_men. Retrieved 18 May 2009. 
  12. ↑ One Flew Over the Cuckoo's Nest, Lyn Gardner, The Guardian, 19 August 2004
  13. ↑ For Odd's Sake
  14. ↑ Ferguson, Brian (16 April 2009). "Ticket touts are greedy scum, rages Ricky Gervais". The Scotsman. http://news.scotsman.com/latestnews/Ticket-touts-are-greedy-scum.5174786.jp. Retrieved 18 May 2009. 
  15. ↑ Fraser, Gemma (28 August 2007). "Going wild and giving it up for a good cause". Edinburgh Evening News. http://edinburghnews.scotsman.com/festival2007/Going-wild-and-giving-it.3321740.jp. Retrieved 18 May 2009. 
  16. ↑ BBC Scotland "10 Strangest", 12 August 2009
  17. ↑ Dibdin, Thom (5 June 2008). "Comedy overtakes theatre in Edinburgh Festival Fringe first". The Staged. http://thestage.co.uk/news/newsstory.php/20913/comedy-overtakes-theatre-in-edinburgh. Retrieved 16 June 2008. 
  18. ↑ 18.0 18.1 "Costs & Deadlines". http://www.edfringe.com/story.html?id=2157&area_id=45. 
  19. ↑ Why should I bring my show to Edinburgh?
  20. ↑ 'Pure greed' of 800% rise in venue fees, by Tim Cornwell, The Scotsman, 12 August 2009
  21. ↑ "How much will it cost?". 8 February 2008. Archived from the original on 7 February 2008. http://web.archive.org/web/20080207011349/http://www.edfringe.com/story.html?id=345&area_id=27. 
  22. ↑ "High Street Information". http://www.edfringe.com/area.html?r_menu=global&id=223. 
  23. ↑ "Performers". http://www.edfringe.com/story.html?id=2764&area_id=223. 
  24. ↑ "At the Fringe in Edinburgh, Theater in Crypt and Streets". The New York Times. 18 August 1987. http://www.nytimes.com/1987/08/18/theater/at-the-fringe-in-edinburgh-theatre-in-crypt-and-streets.html. Retrieved 1 May 2010. 
  25. ↑ Zinoman, Jason (15 August 2007). "Rotozaza: When the audience is also the star". New York Times. http://www.nytimes.com/2007/08/15/arts/15iht-fringefest.1.7113896.html. Retrieved 1 May 2010. 
  26. ↑ Gardner, Lyn (21 May 2008). "A loss and a gain for Edinburgh's audiences: The Fringe will be a poorer place without Aurora Nova this year, but Forest Fringe could step into its shoes". The Guardian. London. http://www.guardian.co.uk/stage/theatreblog/2008/may/21/edinburgh. Retrieved 1 May 2010. 
  27. ↑ Forest Fringe: About Us
  28. ↑ Scotland: Freedom of Expression Award shortlist announced, Amnesty International, 21 August 2006
  29. ↑ ThreeWeeks Editors' Awards 2006
  30. ↑ "The Malcolm Hardee Awards". The Malcolm Hardee. http://www.malcolmhardee.co.uk/award. Retrieved 15 June 2008. 
  31. ↑ "In Malc's memory: New Fringe award set up". Chortle. 2 June 2008. http://www.chortle.co.uk/news/2008/06/02/6853/in_malcs_memory. Retrieved 2 June 2008. 
  32. ↑ Wolf, Ian (2 June 2008). "New Fringe award dedicated to Malcolm Hardee". British Sitcom Guide. http://www.sitcom.co.uk/news/news.php?story=000457. Retrieved 2 June 2008. 
  33. ↑ "Irish Independent, 28 September 2007, retrieved 15 June 2008". http://www.independent.ie/entertainment/arts/and-now-for-something-completely--different-1091538.html. 

Further reading

External links