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      At Edinburgh Fringe, Small Shows With Big Ambitions

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      This year, the stronger productions in the open-to-all event were on a par with many in the more prestigious, curated Edinburgh International Festival.Shortly after I arrived in Edinburgh for this year’s festival, I had lunch with a Scottish friend and her young son. The boy was enthralled by the colorful posters plastered all over the city advertising upcoming shows in the Fringe, the scrappy sidebar to the highbrow Edinburgh International Festival. This year, the Fringe — which runs through Aug. 28 — comprises over 3,000 shows, and many posters featured eye-catchingly silly titles. My friend’s son was particularly amused by “Sex Job,” “My Sleepybum” and “A Shark Ate My Penis.” His delighted guffaws were a fitting prelude to my stint in Edinburgh.There was plenty of laughter at “Hello Kitty Must Die,” a musical inspired by Angela Choi’s cult novel of the same title. In this zippy farce, Sami Ma plays Fiona Yu, a Chinese American lawyer fed up with being fetishized by white people and shouldering the unrealistic expectations of her out-of-touch parents. She reconnects with a mercurial childhood friend, Sean (Lennox T. Duong), and they embark on a ludicrous killing spree reminiscent of the movie “Heathers,” with musical numbers including a hymn to a silicone dildo.The all-female cast is hugely talented, and their portrayals of obnoxious men were particularly striking for their impressively rendered physicality, whether the swaggering gait of a self-styled Lothario, the slumped posture of a feckless gamer, or the pompously militaristic bearing of the protagonist’s father.“Hello Kitty Must Die,” is another adaptation of a novel, with musical numbers and a standout all-female cast.Justine BarbinElsewhere, two dance productions explored somber subject matter with impressive subtlety. “Woodhill,” by the activist theater company LUNG, examines the failings of a real British prison where a conspicuously high number of inmates have died by suicide. The story is told in a series of fragmentary voice-overs — interviews with lawyers, prison staff and bereaved relatives — while performers act out the relatives’ grief through dance, set to thumping electronic beats and strobe lighting. It’s a powerful spectacle, and the message — that Britain’s prisons need urgent reform — hits home.“Party Scene,” by the Dublin troupe, THISISPOPBABY, has a similar aesthetic. It depicts four gay Irishmen who are active in the “chemsex” scene, in which people hook up for sex under the influence of methamphetamines. The men’s choreographed dancing is pointedly joyless in its zombified roboticism; for all their synchronicity, they seem lonely and abstracted. The show evokes the existential bleakness of a comedown, of morning-after remorse and shame. And yet it doesn’t lapse into preachiness: The nightclub atmospherics are sufficiently appealing, in themselves, to suggest good times. (On the way out I overheard a theatregoer say to his friend: “I felt like it made me want to do chemsex …”)From left: Liam Bixby, Anderson de Souza, Carl Harrison and Matthew Morris in “Party Scene.”Olga KuzmenkoFor budgetary and logistical reasons, many Fringe shows are relatively small productions, and there are always many for solo performers. One of these is “The Insider,” by the Danish company Teater Katapult, in which Christoffer Hvidberg Ronje plays a lawyer implicated in a huge tax fraud. We find him in a transparent interrogation cell, weighing up whether to spill the beans in return for a reduced sentence. He does lots of sweating, writhing and shaking while oscillating between hubris and remorse. The protagonist’s back story provides some intriguing psychodrama — an obsession with transcending his modest provincial origins led him to embrace a ruthless social Darwinism — his uncomplicated moral abjectness makes for a one-dimensional portrait. It’s an open-and-shut case, in every sense.In another one-man-show, “The Ballad of Truman Capote,” Patrick Moys plays the renowned American author as he prepares to host a masked ball in 1966. Written by the Scottish novelist Andrew O’Hagan, the play is a maudlin monologue in which Capote muses gnomically on his childhood and career. (“Being published is not like being loved”; “My creative life is an unmade bed.”) The problem is not the lack of action per se, but the monotonous timbre of the reminiscences: Capote’s elliptical inwardness makes for dull company.Holding the audience’s attention is a perennial challenge with a single actor onstage. In a smart revival of Cyriel Buysse’s Flemish classic, “The Van Paemel Family” by the Antwerp troupe SKaGeN, the actor Valentijn Dhaenens sidesteps this difficulty by playing all the play’s roles. He takes three of the 13 characters in the flesh, and the rest appear in the form of prerecorded scenes digitally projected onto a screen.The story revolves around a farmer who falls out with his two sons after they side with striking farmworkers during a period of social unrest. Mr. van Paemel is slavishly loyal to the landowner for whom they all work, and believes organized labor is a scourge. Even when he and his family are driven off their farm by rent hikes, and his daughter is cruelly taken advantage of by the landowner’s son, he prefers to maintain his beef with his sons, rather than focus on those responsible for his plight.There was something uncanny about seeing the real-life Dhaenens interact with his vaguely spectral digitized selves. This eerie visual texture, neatly complemented by the doleful tones of an accordion, made for a memorably unique aesthetic. The play dates from 1903, but the story’s central character is a timeless archetype: The embattled patriarch who clings stubbornly to every reactionary shibboleth even as he gets shafted from all directions.The standout Fringe show was Lara Foot’s stylish adaptation of “The Life and Times of Michael K.,” J.M. Coetzee’s Booker Prize-winning 1983 novel about the struggles of a poor man during a fictional civil war in South Africa. The play is a collaboration with Handspring Puppet Company, best known for its work on “War Horse”, and Michael K. and his elderly mother are represented by puppets that are manipulated and voiced by onstage performers.The interplay between puppets and actors made “J.M. Coetzee’s The Life and Times of Michael K.” a Fringe standout.Fiona MacPhersonMichael K. is a borderline simpleton, kindhearted and determined, but naïve; something about the puppet’s plaintive expression and scrawny frame evokes a pathos that fits the story perfectly. Yet this somewhat desolate tale is mitigated by moments of humor, such as when the famished Michael comes unstuck trying to eat a sandwich. Being a puppet, he can’t actually do it, so the three men controlling him hungrily take a bite each, on his behalf.People think of the Fringe, which is open to anyone who can pay the accreditation fee, as defined more by quantity than quality. Yet the stronger Fringe shows were pretty much on a par — in intelligence, aesthetic ambition and technical execution — with several of the productions I saw at the more prestigious, curated International Festival. The difference was mainly a question of scale.For all its bustling, chaotic energy and anything-goes philosophy, the Fringe’s organization was impressively slick, although there was, inevitably, the occasional blip. My heart went out to the cast of “Exile for Two Violins,” whose performance at the French Institute was marred by noise pollution from a street party next to the venue, complete with a P.A. system blasting pop music. This delicate meditation on the life and work of the Hungarian composer Bela Bartok could probably have done without the accompaniment of loud rhythmic clapping, periodic cheers and whistles, and the booming strains of the White Stripes’ garage rock anthem, “Seven Nation Army.” The performers plowed on — heroes, one and all.Edinburgh Festival FringeThrough Aug. 28 at various venues in Edinburgh; edfringe.com. More

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      Adam Brace, Director of Ambitious One-Person Shows, Dies at 43

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      He worked with stand-up comedians to develop shows — one of which is headed for Broadway — that were more than just collections of jokes.Adam Brace, a prolific British director renowned as an incisive collaborator with stand-up comedians and other performers on a string of acclaimed one-person shows, one of which is to open on Broadway next month, died on April 29 in London. He was 43.Rebecca Fuller, his partner, said the cause of his death, in a hospital, was complications of a stroke.For more than a decade, Mr. Brace worked with more than a dozen comedians and actors, up-and-coming as well as established and most of them British, to craft stage shows that were thematically and structurally more ambitious than conventional stand-up sets, more in the tradition of shows starring American monologists like Eric Bogosian, Colin Quinn and Mike Birbiglia.Mr. Brace, who had once been a playwright, helped edit the shows with a sophisticated ear to what audiences wanted.“He looked after so much more than the jokes and the laughs,” said the American comedian Alex Edelman, whose show “Just for Us” is scheduled to begin performances at the Hudson Theater on June 22, after an Obie Award-winning run Off Broadway. It was also staged in London and at the Edinburgh Festival Fringe, the annual performing arts extravaganza. “He looked after the intangibles that can turn a good comedian into a great comedian.”Mr. Edelman, who also worked with Mr. Brace on two other one-man shows, added: “Comedians are maniacs, and he dealt with us at our rawest and most eccentric. He’d take these personal stories and translate them into accessible shows.”“Just for Us” tells the story of how Mr. Edelman, after drawing the attention of white nationalists online, decided to infiltrate a group of them in Queens. It was praised last year by Laura Collins-Hughes in The New York Times as “a brisk, smart provocation of a monologue” about “race and identity in American culture.”The coming move of Mr. Edelman’s show to Broadway follows by several months the opening in London’s West End of “One Woman Show,” Liz Kingsman’s theatrical parody about a playwright who decides to write and perform a confessional monologue. It was nominated for an Olivier Award for best entertainment or comedy play and will open Off Broadway, at the Greenwich House Theater, next month.“With my show, he changed everything,” Ms. Kingsman, an Australian-born actor and writer, said by phone. “It could have been a show that didn’t have a lot of depth, but together we dove down and figured out everything underneath it and everything we wanted to say with the best delivery method.”She added, “I never wanted my show to be a soapbox thing, I never wanted it to sound like I was preaching, so it was about us finding the form where we could make everything funny and digestible.”For Mr. Brace, directing one-person comedy shows like Ms. Kingsman’s was mostly about being a dramaturg, the literary editor of a play. He had held that job at the Soho Theater in London before becoming its associate director.“The term ‘director’ is not a useful or accurate term in comedy, but it’s one we’re stuck with now,” he told The Stage, a British performing arts publication, in 2022. “I don’t really tell anyone to do anything.”“What we’re doing,” he added, “is shaping the whole event. It’s hard-core dramaturgy and, at the most involved level, co-creation.”Mr. Brace and Mr. Edelman working on the Off Broadway production of “Just for Us” before it opened at the Cherry Lane Theater in 2021.Monique CarboniAdam George Brace was born on March 25, 1980, in London. His father, George, an architect, was killed in a bicycle accident before Adam was born. His mother, Nicola (Sturdy) Brace, was a theater administrator. As a teenager, Adam stuffed envelopes with her theater’s season announcements and watched its productions. His paternal grandmother nurtured his interest in theater by taking him to the Edinburgh Festival — where many of the shows he later directed were performed.After receiving a bachelor’s degree in drama from the University of Kent in 2002, he taught English as a foreign language in South Korea and acted at a children’s theater in Kuala Lumpur. He also worked as a gardener, a security guard and a journalist at The Irish Post. In 2007, he received a master’s degree in writing for performance at Goldsmiths, University of London.While studying for his master’s, he traveled to Amman, Jordan, where he researched what turned out to be his first full-length play, “Stovepipe.” The story of the recruitment of private British military contractors during the Iraq war and an ambush that kills one of them, it opened in England in 2008. The Daily Telegraph’s reviewer, writing about a 2009 production, said that Mr. Brace’s script “crackles with tense dialogue and gradually reveals a cunning sense of structure.”His next play, “They Drink It in the Congo” (2016), about a young white Londoner’s efforts to start a festival to celebrate Congolese culture and raise awareness of the civil wars in the Democratic Republic of Congo, was his last. By then, he had begun directing one-person shows. He also worked as an associate at the Gate Theater in London, from 2011 to 2013; as an associate dramaturg at Nuffield Southampton Theaters, from 2013 to 2016; and, most recently, at the Soho Theater.He also worked regularly with Sh!t Theater, a theater company consisting of Ms. Fuller and Louise Mothersole, whose performance art includes music, comedy and multimedia elements.“We called him our directurg,” Ms. Fuller, who performs under the name Rebecca Biscuit, said by phone. “He helped you see connections in things that weren’t visible.”In addition to Ms. Fuller, Mr. Brace is survived by his mother; his brothers, Tim and Alex Hopkins; and his stepfather, Nigel Hopkins.Mr. Edelman said that after a show, he and Mr. Brace would assess how well he had executed several goals, including whether he had found the right balance between stillness and momentum.With Mr. Brace’s death, he said, “One of the things I’m thinking about is, who will be the person to talk to about that execution with me?” More

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      Eldjarn and Das Are Stars at Home, but Not at Edinburgh Fringe

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      Over 1,000 stand-ups play the Edinburgh Festival Fringe each year, hoping for a big break. Some are already huge names elsewhere.EDINBURGH — When Ari Eldjarn, one of Iceland’s most popular comedians, takes the stage in his native country, it’s usually to sold-out crowds. In the spring, he played 15 dates in a 1,000-capacity auditorium in Reykjavik. The total audience for the run was equivalent to over 10 percent of the city’s population.Yet at this year’s Edinburgh Festival Fringe, Eldjarn, 40, has found himself in less celebrated surroundings: the fourth room of the Monkey Barrel Comedy Club. On a recent evening, there were about 50 people in that space for Eldjarn’s daily show, “Saga Class,” with three rows of empty seats at the back. The air conditioning whirred loudly, and the thud of dance music occasionally intruded from another show upstairs.“Can you hear me all right?” Eldjarn asked as he came onstage. “I hear myself really well,” he said, pointing to the venue’s main speaker, which was just feet from his head. “But I have no idea if the people at the back hear anything.” Eldjarn then introduced himself as an Icelandic comedian, getting one of his first laughs of the act. “I love being in Edinburgh,” he added, “because there are actually other comedians here.”Vir Das’s Edinburgh show, “Wanted,” is focused on a stir he caused in India with a monologue that examined the country’s paradoxes and divisions.Jaime Molina for The New York TimesThe Edinburgh Fringe has for decades been an event that stand-up comedians flock to, hoping to make it big. Hannah Gadsby, an Australian comedian, won the festival’s main comedy award in 2017 with “Nanette,” a show that went on to become a Netflix phenomenon the next year; previous nominees for that prize include Eddie Izzard, Bo Burnham and James Acaster. At this year’s Fringe, which runs through Aug. 29, more than 1,300 comedians are performing. Most are little known in Britain, and some have to drum up their own audiences by handing out fliers on the street. Yet among them are a handful of comedians, like Eldjarn, who are actually big stars in their homes countries.Also appearing at this year’s Fringe is Stian Blipp, a Norwegian TV star, and Vir Das, an Indian comedian who has 7.7 million Twitter followers and multiple Netflix specials to his name. In Edinburgh, Das is playing to just over 100 people a day, if his show sells out.After his recent show, Eldjarn discovered that audience members had left him just over £20, or about $24, in a tip bucket by the door. He then walked across the street to spend the money on burgers for himself and one of his daughters.“This is definitely like starting over again,” Eldjarn said. In Iceland, he could “just go confidently onstage, make stuff up and people will laugh,” he added. But in Edinburgh, he said, “you really need a lot of good material.”To make his show — which includes jokes about turning 40 and disliking vaping — Eldjarn said he had taken one of his Icelandic sets, deleted anything that would not translate to a British audience, then tried to “salvage as much as possible” as he translated it into English. He was tweaking the routine daily in Edinburgh to try to get bigger laughs, he added.Blipp, the Norwegian comic, said in a telephone interview that he was also nervous about performing in Edinburgh. “I feel like a little boy again,” he said, “like I’m doing a second debut.”Inside the Teviot Row House Student Union, a small Fringe venue for stand-up acts.Jaime Molina for The New York TimesThe Monkey Barrel Comedy Club, where Eldjarn is performing.Jaime Molina for The New York TimesYet not all of the international stars at this year’s fringe were anxious. Das, the Indian comedian, said being in Edinburgh was “very much a holiday, if I’m honest.” He said he was usually on the road so much that it was a luxury to spend a month in Scotland working on his next special and soaking up experiences that might inform future comedy routines.Das, 43, is an old hand at the festival. He first performed in 2011, he said, in a venue “at the back of a pool hall at the back of a video game arcade.” For most of that run, he got only three or four audience members a night, he recalled. Another year, he said he built an audience with the help of a unique take on handing out fliers: He printed the show details on fake bank notes and dropped them around the city.This year, Das was not using any gimmicks to promote his hourlong show, “Wanted,” which was mostly sold out. (It is playing in a 102-capacity basement venue — a far cry from his last tour dates in Mumbai, where he said he played 10 shows at the 1,109-seater Jamshed Bhabha Theater over five days.)“Wanted” is focused on a furor Das caused in India last year, after he posted a monologue online called “Two Indias” in which he examined the country’s paradoxes and divisions. Das said the monologue, which had been performed at a show in Washington, was a way of showing his love for India and calling for social unity, but some accused him of defaming the nation. A spokesman for the governing Bharatiya Janata Party filed an official complaint (Das said in his show that the police had decided not to take it forward, and had dismissed other complaints) and a prominent Bollywood actress accused Das on social media of engaging in “soft terrorism,” a comment widely picked up on Indian news media. In his Edinburgh show, Das said, “I remember thinking, ‘This is so insulting to actual terrorists.’”Das said he used to adjust his material for Edinburgh audiences, but does not do that anymore. Many in the audience were British Indians, who came to his show to hear what India was like today, Das said, whereas Western audiences wanted to learn something new about Indian life. “Strangely, it’s become more important to tell an authentically Indian story for both the Indian and Western audiences,” Das said.In India, Das plays theaters that hold more than 1,000 spectators. In Edinburgh, he’s performing at a 102-capacity venue.Jaime Molina for The New York TimesAt a recent show, Das walked into the sweaty basement to booming music, as if he were entering an arena. He drew immediate laughs by remarking on the racial mix of the crowd. “I see Indian people,” he said. “I see people sleeping with Indian people,” he added. “I see random locals who thought Vir Das was a German comedian and are now thinking, ‘This isn’t what we thought it’d be.’”Then, he told a few preliminary jokes to give latecomers a chance to arrive before he started his routine. “It takes a while to get British crowds warm, and Indian crowds in,” he explained. (In India, a warm-up act does this before he comes on.)When the show ended, Das posed for a group selfie with audience members outside the venue — a requisite of the star comic the world over. After a gig in India, Das said, he would typically jump in a car to his hotel like any other celebrity. But here, he simply walked off, carrying a backpack. Barely anyone gave him a second glance. More

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      A Quiet Summer at Edinburgh’s Festivals

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      There are fewer shows and smaller audiences than usual at the International Festival and the Fringe this year.EDINBURGH — Quiet isn’t a word usually associated with August in Edinburgh, where the International Festival and the bigger, more ragtag Fringe usually promise a cultural hurly-burly. But the pandemic here, as elsewhere, has readjusted realities, as was evident from the moment I arrived last week, primed for a whirlwind weekend of playgoing.Gone were the theatrical hopefuls eagerly buttonholing visitors, and, with them, the barrage of fliers that can quickly weigh down a knapsack. This year, there are hundreds of shows, as opposed to thousands, and many of them are online. It was as if the Scottish capital were taking its cue from the title of a show I saw here: “Still.”That play, by Frances Poet, running at the Traverse Theater as part of the Fringe, is an intriguing study of five people whose lives are threaded together by desperation, among whom Mercy Ojelade stands out as an expectant mother confronting unbearable grief. Directed by Gareth Nicholls, who runs the Traverse, it offers up a fractured landscape of Edinburgh residents bound together by pain, even as the mood around town was one of readjusting to life after lockdown: The majority of coronavirus restrictions were lifted in Scotland on Aug. 9, three weeks later than in England.This means that restaurants and bars were open at capacity, while theaters are still adhering to the social distancing protocols that were in place when shows were planned and tickets sold. More than once, I found myself surrounded by rows of empty seats: “Still,” for instance, can play to 67 people per performance in the Traverse Theater’s largest auditorium, which usually holds more than 200.A mind in free-fall is also the fearsome topic for a high-profile Festival entry at the Traverse, “Medicine,” which was originally scheduled in last year’s canceled lineup. The production will travel to Galway, Ireland, and then to St. Ann’s Warehouse in Brooklyn in the fall.Aoife Duffin, left, and Domhnall Gleeson in Enda Walsh’s “Medicine” at the world premiere at Traverse Theater this month.Jessica ShurteA collaboration between Ireland’s Landmark Productions and the Galway International Festival, “Medicine” springs from the adventurous, absurdist mind of Enda Walsh, the Dublin writer whose breakthrough play “Disco Pigs” exploded on to the Edinburgh Fringe in 1997: Walsh later wrote such musicals as the David Bowie-scored “Lazarus” and “Once,” winning a Tony Award in 2012 for the latter.The appearance early in “Medicine” of a woman dressed as a lobster (don’t ask) tips the show toward an anything-goes therapy session that unfolds in an unnamed psychiatric facility.The lead character is the pajama-wearing John (Domhnall Gleeson, the “Star Wars” and “Harry Potter” alumnus in splendid form), who is made to relive past traumas as part of a dubious psychological reckoning that leaves this beleaguered figure looking even more anxious. Any healing, you feel, hasn’t quite gone to plan, and you begin to think his therapists, both named Mary, might just as well be there to torture him. Walsh doubles as his own director, balancing the play’s anarchic energy with its prevailing sadness.This year, those wary of plays indoors can take comfort in any number of outdoor shows — a brave proposition in a city known for its unpredictable weather. (I experienced mostly clear skies, which is by no means the Edinburgh norm.)At “Aye, Elvis,” Morna Young’s sweetly sentimental play about a female Elvis impersonator (a game Joyce Falconer) who wants to take her tribute act all the way to Graceland, spectators sit in self-contained pods in a parking lot behind the Traverse, with Edinburgh Castle looming high above. But our attention was justly riveted on Falconer’s obsessive Scotswoman, Joan, and her scold of a mum (Carol Ann Crawford, whose every expletive is brilliantly timed).Keith Fleming in Ben Harrison’s “Doppler” in Musselburgh, Scotland.Duncan McGlynnThe following afternoon, I sat on a cushioned tree stump in a woodland as one of 35 spectators for the Grid Iron theater company’s hugely enjoyable “Doppler.” Directed and adapted by Ben Harrison, from a novel by the Norwegian writer Erlend Loe, the play tells of an unrepentant misanthrope (an impassioned Keith Fleming) who forsakes his family to live in a tent, surviving on elk meat and soaking in his own bile.Yet isolation turns out to be elusive, as the play’s title character is visited by a stream of family members. His irascibility is leavened by deadpan humor (“Man cannot live by elk alone”) that varies the tone, even as the lush setting exerts an allure of its own.Back in town, and indoors, a Methodist church is the unexpected venue for an eco-friendly half-hour musical, “WeCameToDance,” a brainchild of the Food Tank initiative in Baltimore that is billed as an “interactive, interplanetary musical adventure.”What does that mean, you might well ask? Think of it as a dance class led by six kindly, athletic women who argue for a better, more environmentally aware planet, all the while leading an intensive aerobics workout. Deliberately difficult to classify, the show, co-directed and choreographed by Ashley Jack, offers a family-friendly mixture of consciousness-raising and fitness training, imparting an urgent political message while working the pulse.The cast of “WeCameToDance” from the Food Tank initiative.Douglas RobertsonPerformed three times daily to carefully distanced audiences of 50, whose members remain on their feet throughout, the show feels like a blueprint for something more ambitious to come and has been invited to participate in the United Nations Climate Change Conference in neighboring Glasgow in November.Not much was charitably intended over at “Dead Funny,” the raucous solo performance from the drag artist Myra DuBois that I saw in Edinburgh as part of a British tour that will include a stand at London’s Garrick Theatre on Sept. 6. Staged in a tent, the hourlong show places Myra firmly in the take-no-prisoners tradition of Barry Humphries’s formidable alter ego, Dame Edna Everage: Latecomers are lampooned and Myra saves what praise she has for herself — “My pronouns,” she says exultantly, “are me, me, me.”Watching this last in a sequence of shows that made a virtue of distance, I had to feel for those ensnared by Myra’s predatory eye, as she scanned the audience for prey. But even she found room for a closing thank-you to her public for embracing her act in these uncertain times. Myra’s strangulated cackle gave way to expressions of generosity (“be kind,” she unexpectedly urged those same playgoers whom she had been so quick to chide), alongside an acknowledgment of the strength in numbers — however depleted — without which live performance cannot survive. More

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      Edinburgh Fringe Is Back. Is a Smaller Festival Better?

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      Locals long complained that the event had gotten too big. This year, because of the pandemic, their wish for a reduced Fringe has been granted.EDINBURGH — The drone of bagpipes drifted down the Royal Mile last Saturday, as members of a student theater troupe walked the cobblestones trying to drum up interest in their show.In a normal year at the Edinburgh Festival Fringe, this central artery of the city’s Old Town district would have been packed tight with young performers and street acts, all competing loudly for the attention of passers-by. But late Saturday morning, there was only one group around.“We were the only ones here yesterday, too,” said Serena Birch, 22, a member of the Aireborne Theater Company, from the University of Leeds. “Usually, it’s like a fight.”Before the pandemic, the Edinburgh Fringe, which opened last Friday and runs through Aug. 30, was surpassed only by the Olympics and the soccer World Cup in terms of audience size. In 2019, the Fringe sold more than three million tickets for 3,841 shows at 323 venues — an increase of 31 percent in five years. Independent researchers estimated that the event generated around $1.4 billion for Scotland’s economy.During the Fringe, the Royal Mile, a central Edinburgh artery, is usually full of performers and street acts jostling for the attention of possible audience members.Iain Masterton/AlamyBut after the 2020 event was canceled, the Fringe was plunged into financial peril. A tentative comeback this year, buoyed by a $1.4 million government bailout, will see fewer than 850 shows presented — a third of them online. Uncertainty around the easing of coronavirus restrictions in Scotland, where limits on audience sizes were in place until Monday, seems to have kept performers and spectators away.This year’s slim, yet typically weird and wonderful, program features stand-up comics, like Daniel Sloss and Jason Byrne; a choral drama about migration staged on an out-of-town beach; and an educational walking tour, led by pelvic physiotherapist, titled, “Viva Your Vulva.”Established in 1947 as a free-spirited alternative to the highbrow Edinburgh International Festival, the Fringe is built on the principle of open access for performers, meaning any acts that pay a registration fee can present a show. It is one of several major festivals that take place in Edinburgh in August, but it is by far the largest.For some in a city with a population of only around 500,000, a break from the Fringe last year, followed by a much smaller festival this year — one that doesn’t clog up roads and sidewalks, or cause short-term rents to skyrocket — has been welcomed.Shulah Stewart, 35, a home care manager, said last year’s cancellation gave locals “an opportunity to just enjoy the city in summer, in a way that they can’t ordinarily.”And even the Fringe’s organizers say the event had become too big.In an interview, Shona McCarthy, the chief executive of the Fringe’s coordinating body, said it was time for a “serious conversation” in the coming months about how to build back in a smaller and more sustainable way. She said that “some kind of regulation” of the Fringe’s open-access policy could be considered for future editions.“Some kind of regulation” of the Fringe’s open-access policy could be considered for future editions, said Shona McCarthy, the chief executive of its coordinating body.Jane BarlowWhile theater and comedy make up most of its program, the Fringe has expanded over the years to embrace a broad range of acts. McCarthy said that some items on the schedule — like open-top bus tours and wine tastings — stretched the definition of performing arts. The Fringe needs to “be brave” and question why events like those have become such a huge part of the festival, she said.Yet the owners of Underbelly, an events producer that runs some of the Fringe’s busiest venues, said in a joint interview that a move away from the open-access policy would hamper the event’s fragile recovery. “As soon as the Fringe became closed access, then a new fringe would just start up alongside it,” said Charlie Wood, an Underbelly director.“No one can control the festival,” he said. “It’s organic.”Ed Bartlam, Wood’s business partner, said many locals’ criticism of the Fringe’s size was based on an “urban myth” that the event was primarily for people from outside Edinburgh and Scotland.According to a Fringe spokeswoman, people from Scotland made up more than half of the audience members at the 2019 event, and Edinburgh residents around 35 percent. About 7 percent came from outside Britain, she added.McCarthy said the digital hybrid model for this year’s festival, with a mix of online and in-person events, would remain for future editions so that audiences and performers could take part in the Fringe “without necessarily having to travel here.”Underbelly’s owners said they would not be presenting any online events in this year’s program. They “can sometimes work,” Wood said, “but you have to spend a lot of money on it, and therefore it doesn’t work for this festival.”Nerea Bello, left, Julia Taudevin and and Mairi Morrison. They are performing in “Move,” a choral drama about migration.Jeff J Mitchell/Getty ImagesOut and about in Edinburgh, the question of whether a bigger Fringe was better drew a range of responses.Claire Mackie, 41, an animator, said the event’s usual “noise and chaos” never used to bother her, even when she lived close to the Royal Mile. “I liked the buzz,” she said, adding that this year’s Fringe seemed “subdued.”Jackie Honisz, 70, a retiree, sitting in her garden beside the Pleasance Courtyard venue complex, said she didn’t miss the Fringe last year, and didn’t want it to return to its previous scale: “Because of Covid,” she said, and because festivalgoers would regularly leave trash in the streets around her home.The comedian Josie Long, 39, made her Fringe debut at 17 and has returned as a performer for 16 of the past 22 years, including this year with a work-in-progress show for limited, socially distanced audiences at the 100-capacity Monkey Barrel Comedy. In a phone interview, she said she felt like this year’s festival was “just about enough Fringe that people can handle psychologically.”But Long added that she hoped the festival would one day return to its sprawling prepandemic proportions. “Making fewer opportunities doesn’t tend to stop the arts being the preserve of privileged people,” she said.“I can’t wait until it’s in a position where I can say it’s annoying again,” she added. More