August 7th 2024.
The Edinburgh Fringe Festival has always been a coveted destination for comedians, but according to Garrett Millerick, it's evolving in ways that may not be so favorable. Many successful shows like Taskmaster, Fleabag, and Baby Reindeer all made their debut at this iconic festival, but the reality of being a comedian during this hectic month is not quite as glamorous as these success stories make it seem.
"It's like a collective breakdown, but a fun one," says Garrett, who has been a part of the comedy circuit for over two decades and has performed at the free arts festival in Scotland for 22 years now. Since 2018, Garrett has been featured on every "Best Reviewed Shows of The Edinburgh Festival" list, but he knows that not every show will have the same fate as the ones that have gone on to become mainstream hits, like Richard Gadd's Netflix show Baby Reindeer.
"It's not like every show, or any show for that matter, is going to get 'discovered' and have their creative baby burst into the mainstream like what happened with Richard Gadd's show," Garrett explains. As a comedian, he has experienced the highs and lows of performing at the Edinburgh Fringe, and he knows that it's not uncommon for there to be no one in the audience at times.
Garrett has been to the Edinburgh Fringe 22 times, and he's back again this year. "I think there are a lot of people who are misled about what the festival is really like. They think they'll go up there and someone will wave a magic wand and make them rich and famous. But the festival can't provide that. It's not the festival's fault," Garrett says, who also stars in the sitcom Do Gooders alongside Frank Skinner.
However, there are exceptions to the rule, like what happened with Richard Gadd's show. But while Baby Reindeer may seem like a difficult watch for most people due to its heavy themes of sexual abuse and stalking, Garrett believes that there should also be a trigger warning for comedians. "I watched Baby Reindeer and loved it," Garrett says. "But there should also be a trigger warning for the accurate depiction of the London comedy scene in 2010 to 2011."
The show follows the on-screen version of Richard Gadd, called Donny Dunn, as he desperately tries to make his comedy career take off, often while heavily bombing on stage. "In my first year, I died on stage for an hour. It was a visceral experience. I'd put it on the level of pet bereavement. A beloved cat," Garrett jokes.
The Edinburgh Fringe has become more saturated over the years, with over 4,500 shows now compared to the 1,200 when Garrett first started attending. Not only has the competition increased, but so have the prices. "When I was a student, it was affordable, and everyone had a more DIY attitude. But now, you need a publicist or agent to get reviewers to see your show. Back then, it was all about handing out flyers," Garrett explains.
But for those who used to spend around £500 for a month's worth of accommodation, the cost has skyrocketed to around £5,000 to £6,000. "I don't think it's affordable for performers or audiences anymore," Garrett says. "Last year, I paid £2,800 for a flat an hour's walk from the town. It had mice and no working plug sockets in the bedroom, which also had no lightbulbs."
Taking a show to the Edinburgh Fringe is a huge investment, and it has become a more professional setting over the years. "It's like a huge circus, and there's always a buzz about it. But the growing cost has dominated the conversation. It's becoming an elephant in the room, and I don't know how much longer we can ignore it. But I also don't know what to do about it," Garrett says.
"There's a lot of greed among landlords of all stripes, from venues to accommodations. There's a narrative that suggests it's a huge pot of gold, and everyone is trying to milk it in all different directions. That's not helpful."
Funding for the festival is necessary because as it becomes less accessible, it goes against its very purpose. "It's the world's largest open-access art festival, and there's never been anything of that scale anywhere on the planet. If we remove the access element, then we have lost something really rather beautiful that has been built up over 60 plus years," Garrett says. "I think it's in danger, and it's certainly on the endangered list."
Despite the challenges, Garrett feels grateful to be a comedian and to have the opportunity to perform at the Edinburgh Fringe. "You get to live your dreams and sit on the cloud, but sometimes the cloud isn't as comfortable as you thought it was going to be," he reflects.
If you want to catch Garrett's show at the Edinburgh Fringe, it's called "Garrett Millerick Needs More Space" and is running from August 6th to 11th, 13th to 18th, and 20th to 25th at the Monkey Barrel. "It's the world's largest open-access art festival, and there's never been anything of that scale anywhere on the planet," Garrett says. "If we remove the access element, then we have lost something really rather beautiful that has been built up over 60 plus years."
As for the future of the Edinburgh Fringe, Garrett is hopeful but also realistic. "I don't know how much longer the festival can continue to grow at this rate. It's become a huge machine that requires a lot of money and resources. But I hope that we can find a way to keep it accessible and true to its roots," he concludes.
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