Even if you were there, you can;t have seen as much as Ewan Spence: if it’s good, he’s covered it with on-the-spot interviews.

I love the fact that it’s pitched as a catch-up service, almost a Fringe+1 (which seems in vouge in TV land at the moment) and is listed after the Fringe is all over, but of course all the Fringe podcasts are archived, so you can relive the month whenever you like. (Thanks to Scott at The Stage for picking up the mention and snapping a pic; and he also points out the other two podcasts are from a Radio Times writer, and the BBC themselves, so I’m the single indie).

Edinburgh Fringe Podcast, #24 in iTunes (click for full screen)

So a big thank you to everyone who’s helping with the pdocast, including The Stagec, Comedy365, Broadway Baby, and all you listeners out there in MP3 land. Now, one more little favour - if you have subscribed in iTunes, why not consider leaving a review of the podcast with Apple?

Update: Make that #14…

For example, in The Times, the podcast was listed as “The Best Edinburgh Fringe Podcast:”

Produced in association with The Stage and The Podcast Network, last year’s Edinburgh Fringe show podcast was so good that it was nominated for a Scottish Bafta [Actually for the 2005 Run, but what's a year between the British Acadamey and me - Ewan]. This year it returns under the auspices of Ewan Spence, who will report live in a daily 30-minute show running throughout the four weeks of the Fringe. It will contain “interviews, reviews and gossip from the funniest festival in the world”. Also promised are colour pieces and some audio tours around the city all produced in a specially created “mobile studio.”

There’s also a long form interview piece in the current Podcast User Magazine (Issue #19) which is worth reading - and the rest of the magazine as well!

What Prompted You To Cover The Fringe?
The first one was back in 2005. I’d just moved back to Edinburgh from London. The Fringe was there, and I went, “Yeah , let’s do it!” …There was also the fact that it hadn’t been done before. And, part of it was the challenge. I think the big part was, can one man take an event as large as that, cover it, report it, present it, be entertaining about it, to make people want to listen to a show about it?

What Is Your Target Audience For The Podcast?
There are two goals. If you are at the Fringe, it’s like having a backstage pass. And if you’re not at the Fringe, it’s going to make you jealous as anything. And I can get those two goals out, I know I’ve got a good show.

Praise both from inside the circle of podcasters, and from the external big boys of traditional media. Lovely! Now let’s see how well I survive August. expect the first full show within 24 hours

Best Actress
Caroline O’Connor - Over The Rainbow
Best Actor
Paul Sparkes - Finer Noble Gases
Best Solo Show
Daniel Kitson - C-90
Best Ensemble Cast
National Theatre of Scotland - Black Watch

Best Comedy Performer
Phil Nicol - The Naked Racists

Best Newcomer
Josie Long

Spirit of the Fringe
Mark Watson

More on this, and my reaction, in Monday’s Podcast.

Best Comedy Performance…

• David O’Doherty Is My Name
• Russell Howard: Wandering
• Phil Nicol: The Naked Racist
• Paul Sinha: Saint or Sinha?
• We Are Klang: Klangbang

Best Newcomer…

• Fat Tongue
• Concert for La Vert: God’s Pottery
• Andrew Lawrence: How To Butcher Your Loved Ones
• Josie Long: Kindness and Exuberance
• Russell Kane’s Theory of Pretension

Listen to the podcast tomorrow for my thoughts on the shortlist.

Which means one of my favourite shows last year “Bill Hicks: Slight Return” (and I interviewed the star and produced Chas Early for last year’s Fringe cast) will not be allowed to light up. Words fail me…

Link: The Scotsman.
Link: Bill Hicks: Slight Return in the EdFringe.com program.

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As usual, Tommy Sheppard seems to be on the wavelength for the performer:

If Perrier genuinely wish to support the development of live comedy in Britain, they should scrap the award in its current form and replace it with a programme of support for talented new artists… It sets one performer against another and creates thousands of losers for every winner. It sours the comedy programme of the festival and stifles innovation and originality as performers search for lowest common denominators to appease competition judges.

Link: The Scotsman

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This last week, at Fringe 2005, I’ve slipped ten pounds in my pocket, saw three or four shows a night, and be back home after midnight (damm nightbus service), after seeing one “banker” show and three experiments. What’s changed? Well as I’ve been reporting about the Fringe for the Fringe Podcast, the tickets to the shows I’ve been attending have been Press/Complimentary tickets. Of course the unspoken deal is that we give them a review on the site, and maybe if we like them get them onto the podcast, but I digress.

If I had been paying for these tickets, the best part of £40 would have been required. Throw in a beer and a deep fried mars bars, and I might have enough for my busfare home. If Vikki was coming along with me (and quite frankly who wants to go to a couple of comedy shows on their own) and the price of a night out, to try a few acts that may or may not be any good, is astronomical.

So what happens? More and more ‘big’ names come up to the Fringe, plaster their faces on buses, billboard, flyposters everywhere, and generally ensure that people come to see ‘the bloke off the telly,’ and the medium to small performers struggle along with a handful of posters, distributing as many flyers as their budget can afford, to try and get an audience of more than ten people a night. If they can fight through the ‘professional’ flyers from the big groups and monster venues.

It should be possible for a Fringe show to get a venue that will hold 20-30 people, for a month’s run in Edinburgh, and break even with around 50% ticket sales - and the tickets at a maximum of £5 so people will still want to impulse buy. As it is, if people have a dream of attending the Fringe and have a successful act on the variety or alternative circuit, they shouldn’t have to be resigned to loosing countless thousands of pounds just to be at the Fringe.

I’m tempted to tell them that the less they push their acts on me the more I am likely to go and see them, but I worry that this kind of response might not compute and make them explode and I couldn’t have that on my conscience, so instead if they corner me I politely scribble their gig details and hope they will go away

More at Bruce’s FestBuzz site.

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Edit: I have since found 2 extra sites that have lots of free WiFi nodes around the city, so now you have no excuse to not download the Edinburgh Fringe show wherever you are! They are NodeDB and Consume. By the looks of it, most are free to access (but if some are in pubs and resturants, please don’t abuse access and at least buy a pint!)

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What is it about the festival spirit that brings out the venal in many fellow residents? I don’t know who will end up in that sadly partitioned dwelling, but the odds are they’ll be fringe performers. And to try and cover the cost they’ll be forced to push up ticket prices, passing the burden on to the audience.

Link: Tommy Sheppard in The Sunday Times

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