The Edinburgh Festival is noisy, chaotic and colourful and has been since the end of the Second World War. But then, it’s not one festival; it’s over 40 separate festivals, happening at roughly the same time. Collectively they have a massive impact on the local visitor economy. Last year, the Edinburgh Fringe alone ran for 25 days and featured over 3100 shows from 51 countries in nearly 300 venues. On top of that nearly 1000 groups contributed to the street festival. The combined festivals generate over £260 million pounds for the Scottish economy and support nearly 10,000 jobs.
Importantly, the Edinburgh Festival gives people a chance to move from the familiar to new and uncharted territory. To step from shows, performers and companies they know to new experiences. 64% of visitors agreed that the Festivals had made them more likely to take greater risks in things they went to in the future, and 53% were more likely to attend other events because of the festival. Fortunately, audiences in East Kent don’t need the long train journey north to find shows with the quality, diversity and intensity of the Edinburgh Festival.
You could find Les Enfants Terribles, Peaceful Lion, New Old Friends, Kill The Beast, Tall Stories, Gavin Robertson, Sell a Door Theatre, Tara Arts, Worboys Productions, Clod Ensemble, Scamp Theatre, Show and Tell Company, Chameleon Dance Theatre, Nicholas Collett Productions, Theatre of Widdershins and Daniel Bye at the Edinburgh Festival. Or you could see them all at the Theatre Royal.
The building at the edge of Margate town centre might be seen as rather more historic than cutting edge, but in fact the programming (by Pam Hardiman) has made the second oldest theatre in the country a neat counterweight to Turner Contemporary on the seafront. While Turner Contemporary brings edgy artists like Tracey Emin, Jeremy Deller and Grayson Perry to a new brutalist building, the Theatre Royal fills a historic space that’s all red velvet and crinkly plasterwork with those artists’ equivalents in theatre.
Some Edinburgh highlights
7-23 August, Fingers Piano Bar
Think dating a musician is all glamour? Think again – gloom-pop solo artist She Makes War takes you through 10 reasons it’s a terrible idea. ‘It’s like someone playing with their phone in bed and ignoring you but, like, all the time.’ Sharing tales of real life on the road and ill-fated attempts at finding love along the way, plus explaining why music is the best boyfriend ever, this show is an enchanting blend of humorous spoken word and atmospheric melancholy music performance, via discussions on the workings of the creative brain, and internet versus IRL relationships.
24-30 August, 10am The Demonstration Room, Summerhall,
A delicious feast for the imagination that tells the fabulous tale of a man who eats himself into his chair, The Red Chair lies somewhere between a Grimms’ Tale, an absurdist ghost story and a parent’s guide on how not to bring up children. As seen in a Theatre Royal presentation at Turner Contemporary. Written and performed by Sarah Cameron. A Clod Ensemble show (who also brought the Red Ladies to Margate), produced in association with Fuel
Through August; venue tbc
A new virus is sweeping the globe. A plague of weeping. You work in online marketing. This wasn’t what you bargained for. And why do you seem to be immune? By the writer and performer who brought Story Hunt to Margate.
5-29 August (not 17, 24) 1:20pm Pleasance Dome, 10 Dome
A frank and funny look at the trials and tribulations of modern existence seen through the eyes of a young black woman. Candid and satirical, this playfully complelling one-woman show uses music, poetry and dance to ask the critical question: just how does a girl make it these days? An exciting debut solo show from rising talent Racheal Ofori. Directed for Edinburgh by Kate Hewitt.
5-30 August (not 17, 24) 4.15pm Pleasance Courtyard, Beneath
A surprising tale of love and loss, set amidst the excesses of 1990s New York, adapted from Josh Kilmer-Purcell’s bestselling autobiography. By turns brutal, funny and heartfelt this one man show evokes a time when Josh found himself working as a drag queen, battling alcoholism, and desperately trying to make a relationship work with Jack, a high-class crack addicted rent boy.Written and performed by Tom Stuart and directed by Nick Bagnall.