Edinburgh Fringe – how was it for you?

Yes, it’s been that theatrical time of year again when performers, comedians, producers, technical staff and all creative types decamped for the month of August to the wonderful, beautiful city of Edinburgh.

Each time I venture to Edinburgh I always forget how crazy the bubble becomes. Half the time you lose track of what day it is, what time it is.

This year I was directing and choreographing the satirical, topical, political Newsrevue which now is a fixed favourite in the festival programme. The show was performed by four artists who are all up and coming comedians, actors and actresses. The venue was the highly respected Pleasance Courtyard and the show was staged in the 350-seat theatre Beyond at 6.30pm.

The structure of the show is short, fast, well-paced sketches, with some well-known songs performed with alternative lyrics. With some witty choreography, dodgy wigs, quirky props and the marvellous Ed on the piano, the production showcased the best of 2013’s news stories so far.

We had two chaotic weeks of rehearsals, putting the show together in preparation for four previews at the home of Newsrevue, the Canal Café in London. Then back into rehearsals for another four previews in the hope that the show was at least 90 per cent ready for its Edinburgh debut.

So off we set on the joyous, reliable East Coast train service – first class, thanks to Emma the producer. The train was full of the entertainment world about to throw itself into the circus of the festival. A few complimentary sandwiches and a gin and tonic, and we arrived in Edinburgh five hours later.

So the festivities began, we had four hours to tech the show, the cast ran around the stage like headless chickens, getting used to the bigger, wider playing area. We previewed, changed the show. Another preview, changed the show. Another preview, changed the show. And by opening night, fingers crossed, it was show time.

Opening night came, went, the bubble was growing, and the fun had started. The atmosphere around the festival was electric and at times over-powering, with people dashing from venue to venue, leaflets being thrust into your hand advertising various shows.

And then of course the world and his mother was there, so there was plenty of bumping into close friends and other performers previously worked with. Plus after-hours, the dangerous thing about the festival is that the bars and clubs are open to 5am – yes 5am! So you end up bar hopping with various friends until the dawn breaks as you walk back to your digs, the enormous seagulls sqwarking you home.

By the end of the first weekend, the reviews start coming through, each show eager to receive a four or five star review from publications like The Scotsman, ThreeWeeks or the now rising Broadway Baby. Now producers and press representatives get the star ratings attached to their flyers as quickly as they can, hoping it will boost ticket sales.

Newsrevue was by then in a good, consistent rhythm, audiences were loving it, ticket sales were on the increase and the cast seemed to be having fun. I then started juggling all my multiple roles at the festival, from director to presenter to assessor for the Musical Theatre Network awards. So over the next ten days I managed to see 48 shows, some stunning inventive pieces of theatre and some that left no impression at all. I have to say, by the end I was exhausted.

It was time for me to leave the festival, say goodbye to my cast and hope they would keep the show in shipshape. So I said my farewells, boarded the train, settled down in first class, downed a gin and tonic and wondered when my next visit to the Edinburgh Fringe Festival would be? Maybe next year – oh, go on then – why not??