Platforming unheard voices,
visiting unseen corners.
We create content about arts festivals and independent theatre all across the World. Our aim is to platform new writing from underrepresented creatives who are out to deliver kickass performances that defy conventional narratives and the status quo. We’re looking to platform unheard voices from unseen corners of the creative universe.
Our content is indulgent – we want to gorge and binge on creative work that inspires, excites and rebels. We write longform reviews that seek to touch the very heart of any work we’ve seen. Performance introduces a discussion, and we want to reach into the soul of work platformed at the world’s Fringe and similar Arts Festivals to unlock the good stuff.
We’re especially interested in exploring work from underrepresented backgrounds such as Black voices, Queer and Trans performers, Disabled and Neurodivergent narratives, Refugee creatives, work about Womanhood or the Climate Crisis – anything enriching, birthed in the minority and resolutely empowering.
Since starting coverage of EdFringe from a kitchen-diner in Scotland in 2018, we’ve grown to become a collective of diverse voices writing about work at four EdFringe Festivals, Brighton Fringe and Paris Fringe. We’re a not-for-profit organisation, meaning we reinvest any advertising revenue into continuing to platform emerging work through reviews, interviews, features and other forms of magazine content here on our site.
In 2023, we will cover VAULT Festival for the first time, head down to Adelaide Fringe in February as well as venturing out to Prague Fringe and returning to our spiritual home for EdFringe in August. Whew! What a year ahead!
Most of our contributors began creating Theatre, Music or Spoken Word and we take a performance-led approach to dissecting what we’ve seen.
Finally we should mention that we have a hedonistic ethos. Our contributors believe that the best Fringe experiences go hand in hand with a boozy beverage. Our U.S.P is that we provide a recommended alcoholic beverage with every show we feature and review. Like sommeliers at a fancy restaurant, we will give you the perfect aperitif to accompany that delicious show. That’s why our motto is ‘Drink Responsibly, Make Art Irresponsibly’.
Criteria
★★★★★ – We wouldn’t change a thing about this show!
★★★★☆ – This show is excellent, a few key changes would make it perfect.
★★★☆☆ – This show is good but needs retooling to be considered “excellent”.
★★☆☆☆ – This show suffers either in conception or execution. This stops it from being able to be considered “good”.
★☆☆☆☆ – This show would not provide anything of value to our readers (we take this rating very seriously).
If you’d like to provide feedback about any of our content, feel free to contact Jake at jake@bingefringe.com.
If you create performance-based work of any kind, we want to hear from you. If you are interested in having your show featured in our Magazine content, please send us a little informal pitch at editor@bingefringe.com.
Our Contributors
Edinburgh-based Editor-in-Chief. Jake is a prolific writer, known for putting together novel-length reviews that try to heat-seek the essence of everything they watch. Jake is interested in New Writing, 20th Century Adaptations, Musicals and Comedy. They particularly cover Queerness, Nationality, Identity, Automation, Technology and the Post-Soviet Space. Their favourite drink is a North East IPA.
Pronouns: They/Them
Festivals: EdFringe (2018-2019, 2021-2022), Brighton Fringe (2019), Paris Fringe (2020), VAULT Festival (2023)
Based in London and obsessed with the Postcolonial world. Aditi likes to look at how theatre and comedy reflects today’s world of multiplicity. She’s keen to watch any kind of theatre or performance but comedy is her go to, because if you don’t laugh you’ll cry.
Pronouns: She/Her
Festivals: Paris Fringe (2020), VAULT Festival (2023)
Bournemouth-based and fascinated by theatre and comedy in all its forms. He has covered a broad range of Shakespeare adaptations – both straight-laced and out-there – as well as taking a firm interest in stand-up comedy, sketch comedy, improvised comedy, music and even reviewing beatboxing. Mike is interested in the intersection of traditional and classical theatre with contemporary Fringe performance. His favourite drink is a vodka-coke (original, right?)
Pronouns: He/Him
Festivals: EdFringe (2018-2019), Brighton Fringe (2019), Paris Fringe (2020)
London-based, with a focused effort so far on writing about stand-up comedy and performance art. She has a masters degree in English Literature, and is interested in the voices of emerging artists and creatives, especially with reference to literary texts and political events.
Pronouns:She/Her
Festivals: Paris Fringe (2020), EdFringe (2021)
Holly studied English Literature and Drama at university and loves sinking her teeth into every kind of performance, however she reserves a special place in her heart for anything movement based from clowning to dance theatre.
Pronouns: She/Her
Festivals: VAULT Festival (2023)
Maddie wrote and performed in a a sketch show at EdFringe 2022 and is now trying her hand at reviewing in Adelaide. As well as making other people laugh, she also likes to be made to laugh. So, she loves watching stand up and sketch but not exclusively, she is also interested in shows that tell important and often forgotten stories and find unique ways of doing so.
Pronouns: She/Her
Festivals: Adelaide Fringe (2023)
Kat is a theatremaker, performer, and self-identified theatre gremlin from the Isle of Wight. She helped to set up an arts centre/music venue near the Isle of Skye. Kat has a vast interest in multiple genres of theatre, comedy, and music. She is particularly interested in entertainment that celebrates openness and understands the power of storytelling. Her favourite drink is a frozen margarita… for all the wrong reasons.
Pronouns: She/Her
Festivals: EdFringe (2022)
Georgia has a dance and musical theatre background, with a strong interest in cabaret, theatre, shows with themes of sexual openness, exploration of gender and equality, coming of age, and anything that pushes the boundaries of live performance.
Pronouns: She/Her
Festivals: EdFringe (2022)
Ingrid enjoys sarcasm, satire, deadpan and dark humour, as well as shows which incorporate music in any way. Her favourite show styles are stand up comedy and gig theatre, and she enjoys those which include coming of age stories.
Pronouns: She/Her
Festivals: EdFringe (2022)
Sarah is a lover of the arts from Australia, excited to experience all fringe has to offer and immerse herself in the culture of this unique expression voice, heart and character. She enjoys involving herself in every kind of performance, reserving a special place in her heart for spoken word, expression through movement, coming of age and all things gender and exploration.
Pronouns: She/Her
Festivals: EdFringe (2022)
