This year I had two shows programmed for the @edfringe, a full run and a short run. That was the minimum I was gonna be involved with. I still can't talk about those shows as they hadn't been announced. They were the result of 3 years development work. I was excited and proud. 1/

These weren't shows with much financial backing but passion projects. Scripts and teams I believe in and love. If they made money, great, but I expected them to just recover cost. I was gonna work hard on them for little money because that is the reality of the Fringe 2/

Now today a lot of us will be super sad that there was no festival this year. And I am one of them. But I can't help but think that the model of doing loads of work for next to no cash to be considered part of the scene and in hope of future touring is deeply flawed. 3/

Why do we do it? Because we have to? Why do we tolerate an environment that champions those who can bankroll their work at festivals, over those who have talent but genuinely need support? Keep in mind CS doesn't fund Fringe runs, you are expected to pay for it out of pocket 4/

There must be a fairer model for those wanting to break into the industry. I've been extremely lucky, I've gotten awards, great reviews, tour dates etc out of my fringe runs so far. I've not lost any money on it. But even with the 'hits' I've just about gotten paid for my work 5/

So how have I managed? I've been really fortunate to have collaborators who have been in a position to get paid after the run. We've had free accommodation for them and I live in Edinburgh. We've had box office splits rather than the venues taking minimums. 6/

I have had a box office or ushering jobs to make money during the festival. We've taken travel costs out of other fees. I had a scholarship when graduating from my masters that I used to pay myself to make the first show and luckily it was a 'hit'. 7/

In other words I was in a rare position to take a gamble and it paid off enough to make me able to do it again. I know very few people who've been that lucky. I could make that investment in my career. But I still think having to do that to get anywhere in the UK scene is bull 8/

Why did I have to though? Because to get funding you need reviews, to get gigs in the theatres they need to have seen your shows, without funding you can't make the shows, to tour the venues, so they can see your work and hire you 9/

So the whole system expects you to make work (for nothing) in hope to get paid gigs. And the fringes enable that system because they are 'open access' in terms of programming. So because you 'can' have a show on you should and therefore you are at a disadvantage if you don't. 10/

So pardon me if I don't exclaim deep mourning for the Fringe today, I feel the loss of culture, loss of exposure to brilliant art and I mourn that. The festival is an enabler of exclusion of the lower classes and a capitalist system of milking artist for corporate gain. 11/

It is the embodiment of all the things we need to change in order for theatre to thrive and though it has been 'kind' to me it also has ensured I stay at an 'emerging' level way longer than is healthy. It needs revolutionised. The Fringe is dead, long live the Fringe.