If the Edinburgh Fringe is to live up to its claim of being a global platform of creative freedom, it needs to both pay a fair wage and tackle its abysmal racial status quo in performances and in audiences, writes Jessica Brough.
Last year I decided I was done with White Fringe. By this I mean Theresa May impersonations, Brexit dramas, all-white improv murder mystery casts, and pale stale male stand-up comics who prioritise cheap group laughs over witty and well-thought-out humour that doesn’t alienate already marginalised audience members. Without even trying, if you visit the Edinburgh Fringe Festival for the weekend you’ll probably end up seeing at least two or three white men dressed as Trump.
This year, #FringeOfColour, a publicly-available spreadsheet I set up in 2018 to promote black and brown performers at the festival, will continue in collaboration with the Black Ticket Project. We will be looking... Keep reading on Gal-dem
Last year I decided I was done with White Fringe. By this I mean Theresa May impersonations, Brexit dramas, all-white improv murder mystery casts, and pale stale male stand-up comics who prioritise cheap group laughs over witty and well-thought-out humour that doesn’t alienate already marginalised audience members. Without even trying, if you visit the Edinburgh Fringe Festival for the weekend you’ll probably end up seeing at least two or three white men dressed as Trump.
This year, #FringeOfColour, a publicly-available spreadsheet I set up in 2018 to promote black and brown performers at the festival, will continue in collaboration with the Black Ticket Project. We will be looking... Keep reading on Gal-dem