The Pleasance is one of the most established venues at the Edinburgh Fringe, operating three venue complexes around the city each August, and presenting a mix of big names and newer talent across all the key genres. It also has a year-round home in London. We spoke to the venue’s Director Anthony Alderson.

CC: Tell us a little about your venue and your 2025 programme.
AA: The Pleasance is one of the most renowned venues at the Festival Fringe. In 2025, we will be showcasing over 270 performances across comedy, theatre, circus, cabaret, family, children’s shows and everything in between.

It’s a vibrant, exciting and exceptionally high-quality programme – a mix of well-known names, emerging stars and brilliant new talent. Blink and you’ll miss it – it only runs for 27 days.

CC: Give us a very quick history of your venue to date.
AA: We began in 1985 at the Pleasance Courtyard with twelve shows in two spaces, although work has been performed there since the start of the Festival Fringe in 1947. The Pleasance has since developed into a Fringe favourite.

Today, we operate three major Edinburgh sites, a year-round London space and we are recognised for supporting emerging talent while hosting some of the biggest names in the industry and a wide range of high-quality international work.

CC: How do you decide what shows to include in your programme?
AA: It’s about balance: exciting new voices, proven talent, fresh ideas, work that feels urgent, joyful, daring or just brilliant. We look for shows that have something to say, with people we believe in and love working with. Anyone with a brilliant idea is welcome.

CC: How do you support your producers and performers once they arrive in Edinburgh?
AA: We’re hands-on from day one. That means providing support for technical teams, marketing and press, artist welfare, networking opportunities and a dedicated space to catch your breath.

We strive to maintain the infrastructure so that artists can focus on what they came here to do. Our theatre spaces are well-equipped and well-run.

The famous Courtyard, Dome and EICC have a legendary atmosphere that is hard to resist. We also directly fund emerging talent through our Pleasance Futures programme.

CC: What is your advice for performers looking to promote their shows?
AA: Know your audience. Speak to them – in person, online, in the queue or at the bar. Be visible, be clear and don’t wait for people to find you.

Be proactive, make sure to talk to people. A good flyer and a bit of charm go a long way. Audiences love discovering something new.

CC: What is your advice for performers looking to get reviewed once?
AA: Start early, build relationships with the right press and make your press materials clear and accessible. But remember – reviews aren’t the whole story. The real focus needs to be on making your show great and the rest should follow.

CC: What is your advice for performers looking to grow their industry network while they are in Edinburgh?
AA: Be present. Go to shows. Attend industry events and meet-ups.

This is the biggest concentration of producers, programmers and fellow creatives you’ll ever find in one city.

You have to take advantage of it and know what the end result might look like before you start.

CC: How can performers get the most out of the Edinburgh experience in terms of their career?
AA: Think long-term. The real impact of the Fringe often comes after it’s over – in who saw your work, who you met and what you learned. Build relationships, go and see as much other work as you possibly can.

CC: How can performers get the most out of the Edinburgh experience in terms of their creativity and performance skills?
AA: You grow fast when you perform every day. You learn what works and what doesn’t, and how to adapt. Again, seeing other work is hugely inspiring – it pushes you to take risks you might not otherwise take.

CC: What are the biggest challenges facing the Edinburgh Fringe – and what can the Fringe community do to meet them?
AA: Affordability and access continue to be significant issues for both artists and audiences. We need improved support systems, more coordinated planning, and long-term investment in the future of the Fringe.

It is time to safeguard what makes this festival unique and to ensure it remains open to everyone – not just the few who can afford it.

Join ‘Love the Fringe’ and support the artists and venues that organise it. Best of all, buy tickets, which cost an average of £14 and remain affordable. Come and enjoy what’s on; it might even change your life.

LINKS: pleasance.co.uk