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Archive for September, 2020

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Edinburgh Fringe Archives: 2019

And now, our final stop in this series is 2019.

Last year was my first Fringe since 2011 where I was without a full-time job, as I left that at the end of July. Despite taking my Fringe runs as holiday for the three years preceding – and revelling in the freedom that brought – I still had to kind of be ‘on call’ if anything went wrong and couldn’t properly switch off. I didn’t miss that, but I did definitely miss the pay slip at the end of the month.

For accommodation, I was staying with a local down in Newhaven. It was right on the coast, so I would regularly go out and sit on the edge of the harbour and gaze out across the water to escape the Fringe madness. I paid £600 for the month and was only sharing with one other person. The website I used proved a great source for bargains. One of the things I am most disappointed in missing out on this year is that I’d already booked a room for about the same amount and it had an en suite. That would be an unheard of luxury.

After a turbulent Fringe in 2018, I just wanted to have some fun in 2019. My other aim was to get through the Fringe without any persistent bowel issues. I wasn’t going to be doing a new show, just HTWAPQ; although I would have a new theme and writing new material for it.

My original plan was to make it the European Edition, but I semi-bottled it. I thought people would be sick of hearing about Brexit after three years, plus I tried writing some material about Europe and it turned out that there was far too much to cover in an hour. But then far better educated people than me have also struggled to come up with anything on Europe in four years.

I also considered making it the Space Edition, but didn’t know if there was enough I could do with that – despite space being infinite. So I picked another option and went for the British Edition. It wasn’t the most inspiring choice, but most of the new material worked and it did give me a chance to finally use Queen in my music round.

This was for the midday show at Stand 2. I was also doing a late-night show at Stand 1. Nine years after first visiting The Stand to see Stewart Lee and thinking how much I’d love to do a show there one day, that’s just what I was doing. I may have used a cheat code with my gimmick, but it was still happening.

I initially asked if I could do one show in Stand 1, but was then offered seven shows there for the first week and a bit. I was in two minds about accepting, because I was concerned it could split my audience. In the end, I decided that it was an opportunity I couldn’t turn down. Very few get such an opportunity, especially with as low a profile as I have.

So for the first week and a bit, I was doing HTWAPQ shows at midday, then again at 11.40pm and finishing just after 1am. It was a ridiculous routine, but I’m definitely glad I did it as it was a totally new Edinburgh experience.

I wanted to test myself and see if I could scale the show up for a bigger room. And on the couple of nights when I was approaching 80, it was a wonderful thing. In fact, there was only one night that was a struggle with a few arseholes in attendance who kept chatting amongst themselves, but I got through it.

Unfortunately, my hunch about ticket sales was right. The midday show sold much stronger than the late night one.

For the late-night show, I didn’t go any lower than 20 people, which I would have been delighted with in the 2014 run. But when the room can seat 140, I really needed a few dozen more. I ended up losing about £100 from doing these late shows, which is still not a bad loss at a festival where many the losses made by many acts run comfortably into the thousands. And I made up for it with ticket sales from midday. Nevertheless, it still stings.

On the days I did double shows, there was a noticeable split in ticket sales. I had my lowest ever HTWAPQ midday audience in Edinburgh one day with 28. But if you added the 20 people who attended the late-night show, then I would have been close to selling out the 50 seater.

Once I’d finish the late-night run, ticket sales picked up noticeably for the remainder of the run. But that first week meant that I would miss out on another official sold-out Jpeg by 4%. It seems ridiculous to think of selling 91% of tickets as being a less successful Fringe, so I will now make a point of slapping myself in the face whenever I do this.

Apart from the odd flat day and arsey audience review (singular), the shows were good fun. I even managed to keep the show going during a power cut.

For me, Edinburgh Fringe was never meant to be about ticket sales. But I’ve just realised that it’s become that way. It was meant to be about trying out different ideas, experimenting, and creating something that’s hopefully fun and interesting. Success, and trying to cling onto that, kind of got in the way. Still, I consider myself incredibly lucky all the same.

If I was to never do another Edinburgh Fringe again, I could retire pretty satisfied with what I’ve achieved there. Three official sold-out runs isn’t a bad accomplishment at all.

I will return there, hopefully next year with a totally new show. I just need to write it first. And preview it multiple times. Oh, and the festival will need to be running too.

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Edinburgh Fringe Archives: 2018

Right, here it is: my account of the struggle that was the 2018 Fringe. I’ve given this enough hype.

I began 2018 with a renewed sense of purpose. If I was to get to where I wanted to be in comedy, I would need to write a lot more new material and do a lot more gigs. And so I did.

I was driving all over the place like never before. I did gigs all around Yorkshire, to Bristol, and down to my old uni stomping grounds of Portsmouth. I was even part of the world record for the longest continuous gig, which took place in Banbury. I was exhausted due to all the driving after work, but I was happier than I’d been in years with all the gigs.

For the first eight months of the year, I was probably doing the same amount of gigs per week that I regularly did in London. And barring one the odd duffer – one that comes to mind is getting stares of disdain from ‘established’ acts for doing new material at a gig that was for… new material and unpaid – the gigs were mostly going really well. Highlights include XS Malarkey in Manchester, Comedy Depot in Bristol, and a wood workshop in Nailsworth. Sadly, it wouldn’t last and something broke.

I was trying to write a new hour show. It was sort of coming together. However, I didn’t do enough previews. I did eight that were spaced out over five months. If all those eight had been in one month, it would have made a dramatic difference to the show.

I was doing two solo shows a day in Edinburgh. And for the new one, I was back at the Kilderkin and wasn’t worried about low audience numbers. After all, I had reigned supreme there in 2015. The Kilderkin conqueror was returning. I thought that if flyered my midday audience, I would be sure to get a healthy percentage to attend my later show. And I don’t know if I already mentioned it, but I did alright there in 2015.

The other show I was doing was a double-whammy of gimmicks. How To Win A Pub Quiz: 90s Edition. I was hoping to be back in Stand 6 for 2018, but a combination of factors meant that The Stand wasn’t running anything at The Place. And due to the decreased footfall caused by the empty void at St Andrew’s Square, it was running a considerably smaller number of shows. I was given a midday slot at Stand 2, which is a great room, albeit a 50-seater. And it was very sweaty. I would stink a lot in my 2018 shows; one from perspiration, and the other from the show more generally.

I’d added some new bits to HTWAPQ, but not done many previews as my focus had been on the new show. Despite this, HTWAPQ was going arguably better than ever. The shows were great fun and were packed every day. I ended up selling 99% of my tickets without handing out a single flyer or doing any promo. Such is the power of the double gimmick.

Yet all was not going so well in my other show over at the Kilderkin. In fact, this is an understatement. Some days were downright torturous. The show needed work, but I didn’t really have the time to sit down and figure it out. Although I would continue with the flyering, my heart wasn’t in it and some days I’d be hoping that no audience would show up so I wouldn’t have to do the show.

To give you an idea of my state of mind, this is something I wrote on my computer at the time but didn’t publish on here until the end of that year: “I don’t want to perform this show any longer. It is not fun. I am not getting anything out of it and it feels like I am banging my head against a brick wall a lot of the time. I hope that I’ll come out the other side.”

That is not to say that every show was dreadful. In fact, some days were actually pretty good when I had an audience and had done some rewriting. But with such number fluctuations, it was almost impossible to build any momentum with the show. I quickly lost faith in it and it often felt like a chore.

A particular low point was the total arse man incident. I call it this as the man involved was a total arse. There were seven people in on this particular day. He kept interrupting, then gesturing for me to get to the point in what I was saying. This was a lot harder to do when someone kept interrupting. He also left three times during the show to go to the bar; and refused to put any money in my bucket at the end. It’s a reminder of just how exposed you are to everything on the free fringes.

Talking of arses, another unpleasant association I have with the 2018 Fringe is that something was wreaking havoc on my bowels. This lasted for pretty much the entire duration of the Fringe. I’m still not entirely sure what caused it, as I wasn’t drinking much that year. In fact, I couldn’t really drink alcohol at all as it would cause unfortunate consequences; normally in the early hours of the morning.

The heat may have partly been to blame, because there was about six weeks before Edinburgh when the temperatures were unbearably hot and I would be driving for hundreds of miles to gigs. And at the Fringe, I was doing two shows most days, meaning a double shot of adrenaline that lasted an hour.

Some days, I would still be on the toilet mere minutes before I was due to go on stage. I honestly don’t know how I got through the month without pooing myself. I suppose that’s another success I can take from 2018, though.

As for accommodation, I was staying at a mate’s flat and paying £200 for the month, which was £800 less than I paid in 2017. He’s since stopped replying to my messages, which I can only assume is to avoid me asking to stay there again with my dodgy bowels. Seriously though, they’re fine now. Mostly.

I needed September off to recover, as the 2018 Fringe had left drained both physically and mentally. For October, November and December, I doubt I even I did 20 gigs. And for a year that had started off with such energy and determination ended at a gig in December to apathy in Audenshaw.