Fringe Festival Becoming Over Commercialised

The Edinburgh Fringe Festival, with its rich history and large number of performers, faces concerns over commercialization and the impact on smaller comedians. While established names thrive, newcomers struggle with costs. Critics like Stewart Lee argue the festival is losing its essence. Despite these challenges, the festival remains a platform for diverse performances and potential future stars.

What concerns are raised about the commercialization of the Edinburgh Fringe Festival?

How does Reginald D. Hunter describe the relationship between supply and demand at the festival?

What impact does the presence of established comedians have on smaller comedians at the festival?

What is Stewart Lee's perspective on the current state of the Edinburgh Fringe Festival?

In what ways do audiences contribute to the success of both established and new comedians at the festival?