According to a recent report, ticket sales for the Edinburgh Fringe Festival in 2023 are still 19% lower than they were in 2019. This raises the question of whether the festival can survive. It was surprising to see these headlines after experiencing a festival that was packed with energy and excitement. However, such contradictory statements are part of what makes the Fringe so unique and all-encompassing. It can be described as thriving, doomed, art, capitalism, and everything in between – and all of these interpretations hold some truth.
Nevertheless, the facts speak for themselves. This year’s Fringe Festival sold 2.5 million tickets, representing an 11% increase compared to the previous year. However, it is important to note that this is still lower than the number of tickets sold in 2019 before the COVID-19 pandemic hit.
In addition to the ticket sales figures, there have been complaints about the exorbitant accommodation costs in the city, which have made it difficult for both performers and audience members to participate in the festival. This creates a challenging situation for the world’s largest arts festival. If the artists revolt and the audience, already facing a cost-of-living crisis, refuses to return in sufficient numbers, the future of the Edinburgh Fringe becomes uncertain.
However, the box office numbers do not tell the whole story. Many observers, including myself, felt that the pre-pandemic Fringe was too focused on growth. In 2019, there were a total of 3,841 shows, while in 2023, that number decreased to 3,553. This accounts for approximately a 10% reduction in shows, which partially explains the lower ticket sales. The Fringe Society, which organizes the festival, aims to increase sales but not necessarily by returning to the dimensions of the 2019 event.
Selling “only” 2.5 million tickets, along with the attendance at Free Fringe and street theater shows, is no small feat. It is important to recognize the scale and popularity of the Fringe, which extends far beyond the usual audience of arts enthusiasts. Despite the challenges, no one in Edinburgh would look at the festival’s grand spectacle and wish for it to be bigger.
While organizers and artists may desire larger audiences, there is no need to panic. UK tourism is still down by an estimated 10% compared to pre-pandemic levels, and a significant portion of Fringe attendees come from Edinburgh and Scotland. As tourism improves and the cost-of-living crisis (hopefully) subsides, the situation may change. The festival’s real problems lie elsewhere, particularly in the high accommodation costs.
This issue of accommodation costs is closely tied to the broader discussion on accessibility. Many artists, especially those from lower socioeconomic backgrounds, are unable to participate due to financial constraints. This, along with cuts to arts funding, has led to fewer producers and programmers attending the Fringe. It has also contributed to a decrease in tourist presence.
If we examine this year’s Fringe for signs of change, one noticeable trend is a slight increase in artists performing shorter runs. None of last year’s Edinburgh comedy award nominees returned this year with a new show, suggesting a shift in the risk-to-reward calculation. The difficulty in finding accommodations for UK media critics, including those from The Guardian, further highlights the issue of high rents in the city. However, it is encouraging to see that there has been a 25% increase in the number of published reviews this year, indicating a thriving event.
The Fringe Society expresses confidence that key stakeholders, such as the Edinburgh City Council and the Scottish government, are starting to address the issue of accommodation costs. Legislative intervention or increased subsidies for artists may be necessary to tackle this problem. To secure the future of the festival, 27 venue producers, including major players like the Pleasance, Assembly, Underbelly, Gilded Balloon, and Summerhall, have formed a new association called the Fringe Alliance. Whether this is a positive step or reflects low confidence in the Fringe Society remains to be seen.
Looking ahead to future editions of the Fringe, there is no room for complacency. However, it is crucial to recognize that this festival is an extraordinary celebration of creativity, unlike anything found elsewhere. Based on my experiences over the past month, I believe that the Fringe will continue to thrive and overcome any challenges it faces. Its survival should not be underestimated.
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