Review – Cicada 3301 – Edinburgh Fringe 2019

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Overall Rating

What’s the best way to scare your anonymous reviewer? How about having a cast member mid-performance stand two feet away from your editor, take his photo, put it on a CSI type board in front of an audience of 100, then ask ‘let’s use facial recognition to see what information we can find on him online?’ Hand -on-heart, this was an excellent method!

Thankfully the ‘online investigation’ proved to be a bluff, and our editor got his Polaroid photo back as a souvenir at the end of the show! Offline data privacy in action! 

And when it comes to online data privacy, these guys know their stuff, and have brought a theme centre stage that many in theatreland may have shied away from. This incredibly well-scripted play, brings to life the infamous Cicada 3301 internet phenomenon in unexpected and ingenious ways. This production scores our highest points for originality and should have massive cross appeal beyond its obvious IT core; from puzzle/ sudoku enthusiasts to linguists, from lovers of theatre to Dan Brown fans.  Cicada 3301 deserves to attain ‘Fringe classic’ status, and I for one will remember this play long after the final curtain has been drawn.

A fantastic production and a must-see!

Review Date : Saturday August 17th 2019. For Tickets – click here.

Content

Cicada 3301 is a play devised around one of the most mysterious, still unsolved Internet puzzles. When Cicada 3301 first appeared in January 2012 with a picture posted on Reddit, it immediately caught the imagination of many, including the future scriptwriters from Cambridge University Fishbowl Theatre. A single image became one of the Internet’s most enduring puzzles; a scavenger hunt that has led competitors across the web, and into uncharted areas of the darknet. Cicada 3301 is a play centred on solving this gigantic puzzle, but also about obsession, the human desire for purpose, and the search for order in chaos.

The narrative was well-written and its frenetic pace managed to carry the audience along with it.

There was some confusion in the relationship between ‘Billy’ and ‘Hannah’ that I would suggest needs resolving before the production is re-run, as it was not clear to me what the source of tension was that existed between them. 

Overall though, a very clever plot with an unexpected cliff hanger ending, that really made the audience question what they would have done, should they have been faced with the same dilemma.  With a few character and plot tweaks, this production is crying out to be made into a TV drama.

Audience Engagement

This was an intense plot, and audience engagement was high. I must admit to being slightly lost on some of the more technical elements, and did feel that an audience handout on seats ahead of the show opening could have helped, giving a few bullet points on the more complex terms used in the play such as ‘pgp’. Overall though, great audience interaction during the show, and the beginnings of a cult following with their clever marketing, especially if they expand on their existing concept of making performances ‘interactive’ by hiding messages for the audience to find within the script , posters and on social media.

Staging

The production made excellent use of the space on stage. We had concerns on taking our seats that we would not be able to see the writing on the whiteboard which was centre stage – these fears were unfounded however, as it was not necessary to read anything on the board to understand the plot. Excellent use of props too to mimic various aspects of the internet in real life. Congratulations to co-directors Issy Snape and Aaron Kilercioglu, and producer Theo Sawkins for staging such a stand out Fringe performance.

Originality

Cicada 3301 is a highly innovative production, that thoroughly deserves the highest score for originality. The marketing of the production caught our eye too, and in fact the poster for Cicada 3301  was nominated for our annual Fringe Poster award, with it’s clever and thought provoking combination of puzzle and design.  This isn’t just one big puzzle on stage though, there were some very nuanced characters developed and at the heart of this production was an incredibly well acted play by four very talented individuals. The innovation in staging also deserves the highest praise, and the creative thinking that brought life to the ‘dark web’ and ‘Skype calls’ was genius.  The play has a refreshing gender split too given its tech focus.

Artistic Performance

Convincing character acting all round, a fantastic cast who brought the energy and enthusiasm needed by the script, with stand out performances from Bilal Hasna and Georgia Vyvyan.  The timing and delivery of lines was almost faultless, and the cast were able to successfully transition between the more intense stressed group scenes, to the more lighthearted duologues that peppered the script. 

Note the EFC pay full ticket price for every show they review. The criteria by which we review and rate shows can be found here.

Update to our Editorial Guidelines on posting reviews on social media

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With immediate effect we have amended our editorial guidelines to make clear that reviews posted on social media should not tag the performer in the post.

There had been much discussion this year on whether publications and websites covering the Edinburgh Fringe should continue to tag in performers to posts sharing reviews of their shows, on the basis that negative reviews could harm a performer’s mental health, and also that many performers choose not to read their own reviews and tagging was taking away that choice.

Our previous best practice was to only tag reviews in which four or five stars had been awarded. We solicited feedback and out of three options (no tagging, tag all reviews, only tag four or five star reviews), our previous best practice of only tagging four and five star reviews was voted to be the most preferred option.

However, we understand that this would not be a preferred outcome for those artists who prefer not to read their own reviews. Equally, only tagging four or five starred reviews undermines a three star rating which we hold as indicating a good, solid performance.

Therefore, we have taken the decision to not tag performers in review posts with immediate effect. We realise that this is not a perfect solution, and may mean that some artists wanting a review may be unaware we have posted a review on their performance. To address this concern, we will hashtag #review and type the performer’s or show’s name in our social media posts so that our posts are easily findable when performers conduct searches.

Lastly, we would encourage the Edinburgh Fringe Society to maintain a register of artists wishing to opt out of reviews and media coverage. Fringe performers have the option of opting out of audience reviews and it would seem sensible that they had the option to opt out of media reviews as well.

The EFC 18th August 2019

Review – Fishbowl – Edinburgh Fringe 2019

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Overall Rating

‘Fishbowl’ seriously undersells itself. Describing itself as a French farce with ‘Mr Bean antics’ brings to mind a small theatre with slaptick gags that draw reserved laughter. Au contraire! On entering the Pleasance Grand, you are met with a huge, intricate set and row after row of hundreds of audience members eager for the performance to start. Small-scale niche theatre, this is not.

Winner of the prestigious French theatre award, The Moliére, for Best Comedy Play, this production has good pedigree. Actors Agathe L’Huillier, Olivier Martin Salvan and Pierre Guillois play an isolated tinkering hoarder, a karaoke singing clean freak, and a goldfish-owning hairdresser, all living in adjacent attic bedsits on the top floor of a Parisian house.

Without a single word, the three neighbours tell their stories, all interspersed by mouth-dropping stage effects.

This production is more than just slapstick and pyrotechnics however. It presents three very distinct individuals, on stage in the fishbowl of their own living environment, and provides a touching portrait of their lives. It is a reminder, that in the isolation of cities, neighbours can live in very close proximity, but that the stories of those living nearest can be the most distant.

Set to be one of the main success stories of Fringe 2019, and no wonder! Fishbowl is the very definition of a five star production.

Review Date – Saturday 10th August 2019 Ticketsclick here

Content

Without giving away any of the content, the narrative can be generally described as a series of acts which each tell their own unique story, that culminate in a final understanding and reconciliation between the three protagonists.

Essentially a narrative of the staging, and how the characters interact with the complex set and react to it, and in doing so shed light on their own unique stories.

If there is a minor criticism here it is that the final part of the show could perhaps have been condensed by 5-10 minutes to give the show a more conclusive ending. But this is a small observation and in no way detracts from the wonderous creativity that has gone into crafting such an an amazingly intricate narrative.

Audience Engagement

The crowds were there, the expectation was there, and Fishbowl delivered! As someone who lives and works in Edinburgh, you do have an inkling as to which shows the good people of Edinburgh are talking about in the pubs, offices and homes, and ‘Fishbowl’ has definitely been one of those ‘Have you heard about that show?’ productions this year.Hopefully that audience engagement and buzz will continue long after Edinburgh and see ‘Fishbowl’ carried to even bigger stages.

Staging

It would be slightly disingenuous to the three actors on stage to state that the set was the star of the show, but in many ways it was. Laura Léonard, the set designer, had built the initial concept set from which the ideas for the show were developed over weeks and months of improvisation. I will not spoil any of the many delights of the set design here, just to say that it would be difficult to imagine a set surpassing ‘Fishbowl’ in design excellence at Fringe 2019.

Originality

The innovation and creativity of the production team in creating ‘Fishbowl’ is simply breathtaking. The ingenuity of telling these three characters’ stories through the set and their interactions with it was a wonder to behold.

Artistic Performance

The artistry of all involved was of the highest standard. The skills of the three actors on stage to bring the set to life through their comedic timing and exact movement required of physical comedy was award-worthy. Well done to all involved!

Note the EFC pay full ticket price for every show they review. The criteria by which we review and rate shows can be found here.

Review – Drowning – Edinburgh Fringe 2019

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Overall Rating

We can all be wrong about things. For the entire play, I was annoyed by the actors of Drowning pronouncing Linz in Austria as ‘lines’. But you know what? I was wrong – I had presumed the ‘Angels of Death’ killings on which the play is based had taken place in Linz, whereas actually it was in Lainz Hospital, Vienna. I had presumed four American actresses could not pronounce German place names, and had closed my mind to the notion that there may have been a hospital called Lainz.

And perhaps this has been the play’s undoing this Fringe in terms of audience and critic feedback – that they have presumed in their minds that the play should be staged in a certain way, and end up disappointed when it is staged in a way that it counter to their preconceived notions.

Indeed, the feedback and reviewing has been so ‘controversial’ for this play, that we decided two of us from the EFC should attend the performance, to ensure we were unbiased and getting the right outcome against our review criteria.

The world premiere at Fringe of this new play written by Jessica Ross, directed by Steven Roy and executive produced by Matrix star Carrie-Anne Moss, scores an overall 3.6 from the EFC, giving it a 4 star rating. Overall, a brave production that deserves to be seen with an open mind.

Review Date – Saturday 10th August 2019 Ticketsclick here

Content

In 1991, four Austrian nurses were charged with murdering 49 patients in their beds in Lainz hospital, but were suspected of killing up to 200. Ross’s play chronicles how this came to pass.

The show’s description asks three central questions : What makes a killer? What makes the yearning for connection and friendship so great that you would do anything? How does a mind justify the most terrifying act?

Whilst the narrative is solid, the flaw in its execution is that it does not relate back enough to these central questions. Too much time was spent in looking for backstories to explain how ‘angel’ nurses could kill. In reality, nurses kill all the time. Male surgeons kill, female GPs kill, male nurses kill. Rich medics kill. Poor medics kill.

The two obvious themes here which the central questions in the show’s description allude to are power and normalisation.

On power, there are comparisons here with Harold Shipman, one of the most prolific serial killers in history, and also a medical professional. He too witnessed at an early age the pain of a loved one with an incurable condition and the ‘kind release’ of death. He too killed for pleasure and power, with the prosecuting QC stating “He was exercising the ultimate power of controlling life and death and repeated the act so often he must have found the drama of taking life to his taste.” In ‘Drowning’ we could see briefly how the power of killing and deciding which patients lived and which died, but not enough. Again, the power dynamics of the nurses was briefly on display, but not enough to explain why the ‘weaker’ nurses were coerced by Waltraud Wagner into murdering patients.

On normalisation, the Third Wave and Stanford Prison experiments have shown how quickly ‘extreme’ behaviours become normalised, especially in group dynamics. This was hinted at in the play, but again somewhat hidden in the sub plots as to why some nurses ended up as ‘leaders’ in the group and others as ‘followers’.

By focusing on these subplots in the narrative, the play has in my opinion opened itself up to criticism that it ‘stereotypes women’ or does not explain ‘why women kill’. Perhaps the awful truth of the play and the real answer as Stanford and Third Wave showed, is that if the circumstances and group dynamics align, we are all capable of murder, whatever our background.

Audience Engagement

Prima facie, ‘Drowning’ should have received four or even five stars for their audience engagement. The team have done some commendable work with their #WomenOfFringe initiative. It is great to see the team meeting the audiences after the show too, and discussing the production and its themes. Unfortunately though, at some level, we need to reflect the mixed feedback the show has received from audiences, which in turn is perhaps reflective of the three star rating we have given the content and its failure to be coherent on its central theme and messaging.

Staging

Again, an audience divider. I, as editor, loved the ‘Deutschland’83’ style musical interludes and the simplistic set using bathtubs, my co-reviewer did not. “Sweet dreams are made of this” playing in between scenes goes perhaps beyond irony and ventures into dark humour which was felt by some to spoil the dramatic effect of the previous act. However, looking critically at whether the simplistic, clinical set design accentuated the themes and motif of the play, I would argue it did, and the set design wonderfully transported the the minds of the audience into an austere 1980s hospital.

Originality

The very fact that so many Fringe-goers are talking about this play, for better or worse, is an indication as to just how innovative and original this play is. Firstly, it scores highly for the originality of its staging. Secondly, this was a brave choice of theme and one which perhaps sets the production up for a fall; to ask a question that cannot be definitively answered in an age which likes conclusion and closure is likely to attract critics in swarms. But the originality here in my opinion, is the fortitude of the production team to stage the play and then hold up the mirror to the audience and ask ‘what do you think?’ In a world that likes easy answers, the response back was never likely to be totally positive.

Artistic Performance

There were some deficiencies in delivery in the way that some scenes were overacted, but certainly not to the extent to rate the actors performances as average or below par. Overall, some very strong performances on a very difficult subject matter.

Note the EFC pay full ticket price for every show they review. The criteria by which we review and rate shows can be found here.

Sights of Edinburgh Fringe – Saturday August 17th

A fantastic summer Fringe day today with sun out, crowds out and audiences in. Here are just a few of the sights we saw around town!

Direct links to Fringe Office box office included in the captions for all shows, so give your favourite flyer teams some love and book your tickets today!

Do you ever have that dream where you’re stood on the Royal Mile in just your underpants in front of crowds of people? – DCGK’s Chicken Box Pencil Case
Tasty treats await! – Déliceux
No need to camouflage success! – Letter to Bodah
Flying the flag – The South Afreakins
Have you got the best laid plans to see this show? – Of Mice and Men
Dead good – The Man from Verona
We prefer to say ‘see their show!’ – Prefer Not to Say
All roads Leeds to Scotland- The Leeds Tealights: It’s Not That Serious
Not see Notflix? No way! – Notflix: Originals
All that jazz!
Anyone want a bear hug? – Bear Pit
Great to see our poster competition winners out and about! – A Complicated Man
5 stars from us! – Manual Cinema’s Frankenstein

Review – James Bran: Hack – Edinburgh Fringe 2019

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Overall Rating

Hack‘ is an exploration of the impact technology is having on our lives by comedian/ poet James Bran. His show promises to delve into “phone addiction, privacy paranoia and the “disruption” of democracy by a handful of data-snatching tech firms”. Bran states that it is time for “comedy analytica”, but sadly only delivers random unconnected facts interspersed by mildly amusing anecdotes. This show feels like receiving a holiday photo from a friend via a faulty dial up modem in 1998 – you were pretty sure it was worth seeing but the delivery meant we never got to see the full picture.

Review Date : Tuesday August 13th 2019. For Tickets – click here.

Content

Unfortunately the content of the show failed to deliver. From the show’s description I was either expecting a tech guru with lots of insider stories and jokes about the industry, or a stand up with lots of hilarious personal stories about using tech. Sadly it was somewhere in between – a TED talk without many facts and a stand up routine without many jokes. The show meandered from personal stories about Bran’s grandfather to expensive fridges to big data to driverless cars. It ended with a vague half-hearted plea for us to talk to our politicians about big data issues. Sadly, there were some important issues waiting to be explored here, but his style and delivery perhaps best suits other topics.

Audience Engagement

The show did not start well and proceeded downhill. There were pockets of laughter in the smallish audience, but Bran did much to isolate the audience from the outset. We were told how he ‘could not be bothered’ flyering that day to bring in an audience, implying our tough luck if there was few seats taken with little atmosphere. There was the rant about how much it cost to stage a Fringe show, the comments about Edinburgh and Scotland that I perceived as anti-Scottish, and the immediate shutting down of an audience member asking a question. Overall, not a pleasant or positive experience. Admittedly there were no walk outs and polite applause at the end, but from the speed of exit of the audience, I suspect no-one was queuing up for autographs.

Staging

For a stand up routine about technology, the staging was remarkably low tech. The projector was difficult to read, the clicker did not work, and the multimedia used in the staging only occasionally felt ‘synced’ with the content of Bran’s routine .

Originality

There were some sparks of original thinking here, on technology topics that are rarely explored in stand up comedy, but the execution was frequently lacking. The fridge section exhibited fresh thinking, but the other topics skipped around and lacked both depth of content and humour.

Artistic Performance

I sensed there was talent hiding here, but it sometimes got lost in the material. At times there was a lack of confidence in delivery, at others a nonchalance. Given different material, maybe even a different day, the outcome could have been very different. In front of the right audience and performing pure stand up without the tech props, I suspect Bran would achieve a much higher star rating.

Note the EFC pay full ticket price for every show they review. The criteria by which we review and rate shows can be found here.

‘Bobby & Amy’ wins Fringe First Award

Currently running at the Pleasance, ‘Bobby & Amy‘ has won a prestigious Scotsman Fringe First Award. Having won a Fringe First with her previous work Rainbow, Emily Jenkins’ powerful new play is a dark comedy about friendship, heartache and the repercussions of foot-and-mouth disease, which asks what happens when our way of life is threatened by those who don’t understand it.

You may recall we met writer and director of ‘Bobby and Amy’ Emily Jenkins back in June who talked about the inspiration for the play and how the impact the foot and mouth crisis is still being felt today – click here for the interview.

A thrilled Emily Jenkins said, “I am over-the-moon that Bobby & Amy has won such a prestigious award. It means so much that Edinburgh audiences have reacted so positively to the story we are telling. Rural communities and agriculture are a vital part of our society and I just hope that in winning this award we can start a discussion about how much they contribute. This has been an absolutely joyful process from start to finish and I feel so fortunate to have been surrounded by such a talented and passionate all-female creative team led by the show’s producer Emma Blackman. Not to mention how in awe I am of actors Will Howard and Kimberly Jarvis who play Bobby and Amy; without their extraordinary talent and dedication this show wouldn’t be what is. This has been such a team effort and I am so grateful to everyone involved.

Anthony Alderson, director of Pleasance added, “I’m so glad that The Scotsman have recognised Emily Jenkins’ excellent writing with this important Fringe First. There’s not been a dry eye in the house after performances of Bobby & Amy which is a testament to the emotional landscape conjured by this beautiful writing.

A hearty congratulations to Emily and the Bobby and Amy team from everyone at the EFC!

Review – Brendan Galileo for Europe – Edinburgh Fringe 2019

Overall Rating

We are pleased to announce our second Five Star review of Fringe 2019 goes to ‘Brendan Galileo for Europe‘, who achieved an overall total of 4.6 thereby giving the show a 5 star review! We believe our review framework is robust enough to cover all show types and this production was a magnificent example of a small solo play that really punched above its weight, and one that we could truly say delivered at a five star level of performance and staging according to our review criteria.

The play written and performed by Fionn Foley was winner of the ‘Best Performer’ and ‘Bewley’s Little Gem’ awards at Dublin Fringe Festival 2018. In Edinburgh until August 26th, this is a glorious celebration of Irish comedy. Exceptionally well-scripted and directed it delivers laughs galore.

And in the best tradition of giving your maximum points to your neighbouring country…the 5 stars from the Scottish EFC jury go to…Ireland!

Review Date – Tuesday 13th August 2019 Ticketsclick here

Content

The story revolves around Brendan’s fight to save his granny’s music school and more widely, his campaign for his west-Galway hometown of Prospect to have a voice in Dublin and Brussels. To save the school from scheming politicians and developers, Brendan resolves to rekindle his electoral aspirations, this time for the European Parliament.

The play covered a lot of material that superficially come over on the surface as a comic caper, but equally hits home at a deeper level and touches on why Europe and its Union remains an aspirational ideal to many, including those on the perceived fringes.

The characters created by Fionn painted a vivid picture of life in small town Galway and the smatterings of Irish dialect and Gaeilge added the colour. Bhain mé an-taitneamh! (I really enjoyed it!)

Audience Engagement

On every seat was a flyer for the show and a two-pager giving extensive biographies of the writer, performer and sound engineer (Fionn Foley), director (Jeda de Brí), stage manager (Sinead Purcell), costume designer (Nicola Burke) and producer/ lighting designer (David Doyle) . This was a fantastic idea, as it gave the audience context and background to the show. Even if unintentionally, it gave the stalls the feeling of an election campaign, albeit with only one candidate. The audience engagement was great, and they really bought into the narrative and manic humour of the play. The applause and ovation at the end was genuine and in the words of an Irish audience member I overheard upon exiting the theatre, ‘Best feckin show I’ve seen at Fringe’. High praise indeed!

Staging

For a solo piece, the staging was wonderful and exceeded expectations. The offstage dialogues and characters (all adeptly voiced by Fionn) worked magnificently. The lighting and sound directors deserve high praise for their creative efforts., especially for the election and Eurovision stage sections.

Originality

In theory, this should have been a basic quest story play involving a simple local lad who comes good. A story we have heard perhaps a hundred times. Yet Fionn’s writing makes it much more than this, and gives the narrative twists and turns that earn it extra points for originality when set against the background of the current rise in popularism across Europe. The staging too demonstrated that the play aspired to be much more than the small-scale production it was; I particularly loved the section where Brendan travelled to Dublin!

Artistic Performance

Fionn Foley deserves the highest praise for the character of Brendan Galileo. Fionn gave everything in his performance, effortlessly transitioning from character to character, contorting and shaping his body during sections of physical comedy that left everyone breathless but Fionn, whilst putting heart and soul into the slower dialogue sections. His timing, empathy, delivery, and acting skills were to the highest level and he gave a stand-out performance that audiences will long remember.

Note the EFC pay full ticket price for every show they review. The criteria by which we review and rate shows can be found here.

Today at the Fringe – Tuesday 13th August

Another amazing day of Fringe fun today, with some fantastic weather to boot. Here are just a few of the performers and marketing teams we met around Edinburgh today! Click on the links for tickets to their shows.

Our 2019 Poster Competition Winner – The Wrong Ffion Jones
Doing Fringe Time – The Bristol Suspension Boys and Aca-rrested : Behind Bars
Have you quite Finnish-ed? – Top Finnish drag act Divet Show
Looking you Right in the Eye – Right in the Eye
At last – Summer is here!
Martha St Arthur – @marthastarthur
We are the Passengers – Passengers
Right Said Shred – Shreds
Spraying the love – Spray
Thank God It’s Tuesday – TGIF
King of The Castle
Making America Gay Again
Don’t fly away! – Up and Away
If you ever want to appear on Dragons’ Den, contact Matt the MD (centre) from the Musicality Nottingham crew to be your main spokesperso!. Possibly the most impassioned pitch we have heard for a show on the Royal Mile! The Musical of Musicals

The Wrong Ffion Jones – Winner – The EFC Fringe Poster Competition 2019

We are very pleased to announce ‘The Wrong Ffion Jones‘ has won our annual competition to be be named as the winning poster design for 2019!

The stunning artwork for the poster was designed by Katie Gabriel Allen and really captures the imagination of the onlooker!

Competition winner Ffion commented, ‘Katie is extremely talented and managed to capture the essence of the show expertly. The show is comedy drama and the imagery captures the ridiculous vision of the future, the comically grumpy expression on the character’s face and the frenetic energy of the story. It’s stylish and fun! What more could you ask for?

And from the thousands of votes cast, it was obvious the wider public agreed. The poster captured 18.9% of all the votes across a week of voting for 10 possible poster winners. Here is a selection of what voters had to say on why they picked Ffion’s poster:

  • “It says to me; ‘I’m happy with who I am and I’m proud of where I’m from’. Tasteful and eloquent.”
  • “Even among the top picks it really stands out. I love the design and it seems to reflect the show’s synopsis. Very inventive and eye-catching. I love it!”
  • “It is most unusual yet reassuringly familiar at the same time. The title is quite mysterious … indeed, quite unsettling, too. Very well done!
  • It’s not all about the coal and steel!”
  • “I saw the show and it was amazing to see the poster again because it picks up on do many of the events and themes in such detail.”
  • “Her face! Misery sells comedy for me!”
  • “It has a fantastic use of subtle colour that makes it stand out from the brightness of other posters.”
  • “I love the concept of it, as well as the graphics and typography.”

Congratulations again Ffion! Llongyfarchiadau ar eich llwyddiant!

Click here to buy tickets from the Fringe Box Office to see Ffion’s show ‘The Wrong Ffion Jones.

Clip of Ffion’s show

Thank you again to all our other entries, and to everyone who voted for them! It was an incredibly strong field this year, and really highlights the strength of design and artistry that goes into the creation of Fringe posters!

In second place with 14.7% of the vote came Birth.
In third place with 13.8% of the vote cam ‘A Complicated Man
In fourth place with 12.4% of the vote came David Bibby
In fifth place with 12.3% of the vote came Four Woke Baes
In sixth place came Cicada 3301
In seventh place came Fulfilment
In eighth place came Scream Phone
In ninth place came Atomic Saloon Show
In tenth place came Abandoman