‘Nobody gets paid’: The brutal reality of taking a show to Edinburgh Fringe
The article explores the financial and personal challenges faced by performers at the Edinburgh Festival Fringe. Many artists invest significant personal funds into their shows with little expectation of profit, highlighting the high cost of entry for creative work.
Why it matters
It sheds light on the precarious economic reality of the arts industry and the 'pay-to-play' culture prevalent in major cultural festivals.
For many, Edinburgh Fringe is the dream – but it comes at a cost (Picture: Henry Roberts)
At 1am, less than 24 hours before leaving London to make her Edinburgh Fringe debut, actor Clare Stenning was still painting the set in her garden.
Once she gets to Edinburgh, things are unlikely to become much more restful. Alongside performing almost every day for the best part of a month, she’ll continue working her normal day job remotely because, unlike her theatre work, that job actually pays her.
Her co-star Davy Roderick is preparing to spend hours thrusting flyers at strangers despite admitting the prospect makes them ‘feel ill’, while writer Katrina Bennett has spent months juggling the production with multiple other roles and a full-time job.
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