theSpaceUK has been presenting shows at the Edinburgh Fringe for 30 years, beginning in year one with a single performance space at Old St Paul’s Church Hall and now operating 20 spaces in buildings all across central Edinburgh. We spoke to the venue’s Director Charles Pamment.

CC: Tell us a little about your venue and your 2025 programme.
CP: theSpaceUK is celebrating its 30th year of presenting live work at the Edinburgh Fringe. ‘Live’ is key here – though in 2020 we hosted a hugely popular online festival during COVID, attracting over 40,000 viewers.

This year, we’re once again presenting the largest programme at the Fringe, with over 475 different shows across every imaginable genre.

We’re especially proud of our reputation for championing new writing – many award-winning plays and playwrights have premiered with us over the years.

CC: Give us a very quick history of your venue to date.
CP: We began in 1995 with just eight shows at Venue 45, the characterful Old St Paul’s Church Hall, which remains part of our portfolio. Demand grew quickly and over time we expanded into new spaces. Today, we run 20 performance venues, host over 400 productions and welcome around 250,000 audience members every August.

CC: How do you decide what shows to include in your programme?
CP: We’ve always remained true to the core Fringe ethos – giving a platform to unknown, new and emerging artists.

While we do now curate elements of the programme, our priority is still to provide space for experimental, genre-defying and original work. We pride ourselves on being an open and inclusive home for creative risk-taking.

CC: How do you support your producers and performers once they arrive in Edinburgh?
CP: By the time companies arrive in Edinburgh, we already have a strong relationship with them and a clear understanding of their goals.

Much of the groundwork is done early – we had over 100 shows on sale by January this year. From spring onwards, we’re actively supporting companies with marketing, press, production and logistics.

Our press team works closely with companies to create bespoke features and maximise review coverage, and our production team helps companies refine everything from set builds to props.

During August, we host launch events, media meet-ups and a weekly showcase specifically for shows with short runs.

CC: What is your advice for performers looking to promote their shows?
CP: Talk to our press team – they’re experts and here to help. We’ve invested significantly in resources to ensure we can connect the right shows with the right press.

theSpaceUK branding is highly visible throughout the city and we back that up with targeted digital advertising and real-time promotion.

If your show gets a four or five star review, we can have a podcast or feature online within minutes. Get your press release in early and work with us on clear, impactful designs for posters and flyers.

CC: What is your advice for performers looking to get reviewed?
CP: Start planning early. A well-prepared press release and professional-looking marketing materials make a real difference.

Our company handbook and marketing newsletters are full of practical advice and our press team is on hand to help pitch your work to reviewers and editors.

We also run ‘Meet The Media’ sessions and actively facilitate press introductions.

CC: What is your advice for performers looking to grow their industry network while they are in Edinburgh?
CP: Fringe is a golden opportunity to make lasting connections. Attend as many events, panels and showcases as you can. We regularly host informal networking opportunities, especially at our launch events and showcases.

Don’t be afraid to introduce yourself – producers, critics, agents and fellow artists are all here and open to meeting new people.

Stay for a drink after your show and talk to your audience. The conversations that happen in queues or on the Royal Mile often lead to future collaborations.

CC: How can performers get the most out of the Edinburgh experience in terms of their career?
CP: Set clear goals, whether that’s securing a tour, getting reviewed or simply gaining experience. Then communicate those goals to your venue and team so they can support you.

If you’re strategic, Fringe can act as a brilliant springboard for future opportunities -several of our alumni have gone on to national and international tours, publishing deals, or West End runs.

Take it seriously, but be open to serendipity too – the city is full of unexpected opportunities in August.

CC: How can performers get the most out of the Edinburgh experience in terms of their creativity and performance skills?
CP: Edinburgh will test and stretch you – but that’s where the magic lies. Performing daily in a festival environment hones your stamina, your timing and your relationship with your audience.

It’s also a rare chance to see dozens of other shows, often from radically different disciplines. We always encourage our companies to get out and watch as much work as possible. It’s the best form of creative inspiration.

CC: What are the biggest challenges facing the Edinburgh Fringe – and what can the Fringe community do to meet them?
CP: The biggest challenge is structural. The Fringe is not run by a central body – it’s made up of venues, producers, artists and audiences all taking individual risks.

The Fringe Society provides invaluable support and infrastructure, but there’s no single organisation managing the overall festival. That creates both freedom and fragility.

If we want to protect the Fringe’s future, stakeholders – from funders to councils to national bodies – need to work more collaboratively.

Shared investment and a clearer framework of accountability would go a long way toward safeguarding this unique ecosystem.

LINKS: thespaceuk.com