
Photograph by Robert Lee
If your mother ever told you, you can’t get anything for nothing, I hate to say it, but you’ve been lied to. Catching up with Alex Petty, Director of the Laughing Horse Comedy Free Festival, for a quick chat, pre-Fringe chaos, he tells Festival Previews the secret behind real Fringe “talent”.
Both the Free Festival, and the PBH’s Free Fringe are fantastically simple concepts. Befriending pubs and bars (and anyone with a space big enough to house a show), Petty charms them into letting their back rooms to amateur performers, and in return, reaping the benefits from sales. And, that’s it… Voila, 16 venues’ ears prick at the very concept, and the Free Festival exists.

What started out as a loss-incurring gamble in 2004, with a measly 6 shows is now what Robin was to Batman, a faithful sidekick relying on the sheer success of the unticketed Fringe Festival, and giving performers who don’t necessarily have the cash to show off their talents. With 352 performers under the Laughing Horse brand (and 600 free shows in Edinburgh this August combined), from Malcolm Hardee’s Spaghetti-Juggling Contest (outside The Beehive Inn, 8-27 August (not Sundays)) to The Naked Busker (The City Cafe, 20-28 August) the Free Festival really does provide as much of the variety as the Fringe, except with one added bonus… you guessed it, you needn’t take out a small mortgage on your house to see it.
What Petty admits to be a PR exercise, allows both audiences and performers to take more risks with their work. Without the burdensome start up costs, often in their thousands, the Free Festival provides performers a platform upon which they can fully focus their “artistic freedoms” without the added stress of meeting ticket sales and breaking even. Although there are still the obvious costs of travel, expense and accommodation and the £280 fee to get a show advertised in the Fringe brochure, the costs in comparison to venues like The Big 4 are incomparable. Unsurprisingly perhaps, it seems to be paying off, with success stories such as 2010 Comedy Awards Best Newcomer nomination for Imran Yusuf and his show, ‘an audience with…‘ and young cabaret starlet, Sarah Louise Young (’Fasinating Aida’). Solidifying the Free Festival’s place in the whole, manic, scheme of things, something is clearly working…. and it’s working well in a system whose ethos tends to be that those who throw the most money at something come out on top. Such is, quite honestly, a complete misnomer, as Petty describes the meritocracy of his method, i.e. if someone is good they will be discovered, regardless of the pennies they have in their pocket or whether they’re acclaimed on the comedy circuit or a complete newbie.

The total element of chance in finding a dud as, ultimately, a customer, is no more likely at the Free Festival, and comes with the added bonus that if you don’t like something you can leave after 15 minutes without worrying about the wage you’ve spent. As Petty says, ‘I’ve paid for shows and after 10 minutes I’ve left thinking why have I spent my money on this?” What’s different about Petty’s concept is that at the end of a show, audiences are encouraged to part with cash in the form of a donation, of which 100% goes to the performer to offset expenses.
Petty, in our brief meeting, was all to quickly running off to sort some new venue, reassuring me he’ll be here until he’s “carried out of Edinburgh in a wooden box”, dependent of course on how much deep fried haggis he eats. With high recommendations for ‘I am Google‘, on down at the Espionage Kasbar (5-28 (Not Thursdays)) and ‘Phil Kay – Free Hash‘ at The Hive (12-28) we hope Petty will find time to enjoy some Fringe rather than fussing about organisation at the sidelines and coming out early September confused at how he’d missed it. After all, as Petty mentions, “The Fringe is unlike anything else on the planet”.

Article by Hannah Van Den Bergh


6. Are you a gadget geek or a gadget freak? How do you see technology progressing to assist the marketing of your show in the future?