“The world’s greatest platform for creative freedom.” You can find this bold claim on the official website of the Edinburgh Festival Fringe, the month-long arts extravaganza which kicks off on Friday. In truth, the Fringe has for many years been little more than an elaborate trade fair, where overinflated prices benefit corporate sponsors and venues at the expense of punters and acts, and critics and awards bodies rally together to prioritise their regressive identity-obsessed ideology over talent.
As for creative freedom, that might be the biggest joke of all. Two Jewish comedians, Rachel Creeger and Philip Simon, have had their shows cancelled at two venues. One of these, Whistlebinkies, at first claimed that this was due to “safety concerns” — presumably it feared that activists from “the right side of history” might turn up to assault audiences and staff in the name of compassion. Creeger and Simon say they were told of “staff discomfort at hosting Jewish shows”.
Of course, any appeal to “safety” in the context of a comedy show is mere sleight-of-tongue, a specious justification for the curbing of artistic freedom. The Banshee Labyrinth has cancelled Simon’s solo show after trawling through his social media posts in search of heretical views. Chillingly, its managers have compiled a “dossier” of tweets in which Simon criticises the hypocrisy of those who attend and organise “humanitarian” marches for Palestine while turning a blind eye to the atrocities committed by Hamas. The venue was particularly outraged that Simon pointed out that Greta Thunberg had not been “kidnapped” by the IDF when she sailed her flotilla to Gaza in her ongoing mission to save the universe and chronicle it all on Instagram.
One would hope that a comedy venue of all places might appreciate that creatives do not always agree, and that it is not their place to cancel performers who do not pledge fealty to the fashionable omni-cause of the middle-classes. Alas, as ever, conformity is now being demanded from those we should least expect it from. It is particularly dispiriting to see this kind of groupthink take hold at the Fringe. Since its inception in the late Forties, performers have been accustomed to protests and demands for censorship from the Christian Right, but such calls today are coming from within the industry itself.
The ideological capture is evident from critics who laud shows for conveying the “correct message” and comedy commissioners who evidently prefer propaganda to art. Ever since Nica Burns, the director of the Fringe comedy awards, launched the 2018 festival with a paean to “comedy’s future in the woke world” which will “establish a clear marker for what is unacceptable today”, most performers and industry doyens have been diligently following the decree. Genuinely subversive acts have been edged out to make space for the mediocre and the bland.
This is a trend that is now firmly established. Three years ago, the Pleasance Theatre — one of the Fringe’s main provider of venues — cancelled a show by controversial comedian Jerry Sadowitz. According to the director of the Pleasance, Anthony Alderson, this was because “this type of material has no place on the festival”, and “opinions such as those displayed on stage by Sadowitz are not acceptable”. When a leading comedy promoter openly admits that he doesn’t understand the difference between opinions and jokes, we know the rot is entrenched.
Kate Copstick, one of the few comedy critics who has refused to kowtow to the new orthodoxy, wrote the following after the Sadowitz cancellation: “In all my years of covering the Fringe, there has never been a more joy-stranglingly censorious August. Councillor Moira Knox in her heyday seems like a libertine now, in comparison to today’s recreationally offended. When the blood-chilling phrase “unacceptable and does not align with our values” is bandied about, and by a venue like the Pleasance, then it is time to fear for the freedom of our funny. The point of a Fringe is that it does not align with anything.
All of which would be depressing enough, but the situation has been exacerbated by the complicity of comedians themselves. Many acts at the Fringe now fall into the category of what the Spanish call “cuerpo oficial de cómicos del Estado” (official body of comedians of the state). These “regime comedians” are aware that success in their careers is dependent on echoing the dogma of our times, one that has been promoted consistently by successive Conservative and Labour governments. These are the fools at court who have forgotten that their job is to criticise the king.
It was not always this way. Back in 2006, when Tony Blair’s government attempted to oppose amendments passed by the House of Lords that limited the scope of the Racial and Religious Hatred Bill, comedians were outspoken in their dissent. Had the bill passed, any vexatious complaint about a show that mocked religious belief would have resulted in its suspension pending a police investigation. Acts have just over three weeks at the Edinburgh Fringe to recoup some of their losses; they simply can’t afford to waste time being interrogated by the Star Chamber.
But whereas there was near unanimity among comedians in 2006, by the time Markus Meechan (aka “Count Dankula”) was prosecuted for a joke video in 2018, there were few speaking out. Whereas they once understood that “the right to offend is far more important than any right not to be offended” — the phrase used by Rowan Atkinson during the 2006 campaign — they had now subscribed wholesale to the core woke belief that words and violence are synonymous and that suppression of free speech is essential for the preservation of a cohesive society. Where once comedians fought censorship, now they were defending it.
Up until relatively recently, punters would have been sorely disappointed at a fringe festival that offered a series of interchangeable comics all aiming their barbs at similar targets. When Scott Capurro took his show Islamohomophobia to the Fringe in 2013, and was depicted wearing a transparent burka in the publicity materials, nobody took offence or called for his deplatforming. A little over a decade later, and police are contacting a venue in London because of accusations that Capurro might be “homophobic”. Perhaps the investigating officers should have asked for evidence from his husband.
For the humourless and the doctrinaire, comedy will always be a dangerous phenomenon. Take George Monbiot, who recently produced a piece for the Guardian in which he argued that jokes are the equivalent of gateway drugs to the far-Right. “Dominant powers have for centuries used clowns to express their deepest, most unmentionable urges,” he writes, forgetting that the antics of clowns have always been the most effective tool to undermine authority. Citing jokes by Lewis Schaffer, a comedian whose every utterance is guaranteed to bewilder the congenitally literal-minded, Monbiot concludes that “Humorous suggestions of violence reveal and embolden real desires,” that they “soften us up for violence and misrule” and that “it’s the clowning that kills us”.
“For the humourless and the doctrinaire, comedy will always be a dangerous phenomenon.”
In this, Monbiot appears to be channelling the spirit of William Prynne, the puritanical firebrand who, in his Histrio-Mastix (1633), railed against the capacity of stage comedies to “empoison, endanger, and deprave” the audience. The elegance, wit and popular appeal of these shows, Prynne reasoned, had the effect of acclimatising the public to “adulteries, fornications, rapes, love-passions, meretricious, unchaste, and amorous practises, of lascivious wicked men or heathen idol-gods”. The claim that jokes lead to violence is often asserted but never proved. It is eternal cry of the sanctimonious and the philistine.
Monbiot’s logic is identical to that of the officers who last week arrested Jon Farley, a protester at a pro-Palestine rally in Leeds, who had been holding a placard bearing a cartoon from the satirical magazine Private Eye. The cartoon mocked the Government’s proscribing of Palestine Action as a terrorist group. Fully on board with the notion that comedy and satire are potentially toxic forces and can incite real-world harm, the police swiftly handcuffed Farley and detained him for nearly six hours. This is what happens when freedom of speech is no longer valued by the ruling class, and the ideology promoted by the likes of Monbiot becomes institutionalised.
No doubt this authoritarian attitude will persist at this year’s Edinburgh Fringe. Innately subversive comedians will continue to self-censor, and those who do risk the ire of the establishment will doubtless pay the price. We can expect increased conformity while activists insist that “nobody is being stifled”. Genuine fans of comedy would be advised to avoid the Fringe, at least until its gatekeepers learn that laughter is more satisfying than nodding along to the approved creed.
