In a significant leadership shake-up, the Edinburgh Festival Fringe Society has appointed Tony Lankester as its new Chief Executive, a move that signals a fresh direction for the world’s most famous arts festival. With decades of experience in festival management and a deep passion for live performance, Lankester’s appointment comes at a pivotal moment for the Fringe, as it navigates post-pandemic recovery, financial challenges, and the evolving landscape of live entertainment.
Lankester is best known for his transformative tenure as CEO of the National Arts Festival (NAF) in South Africa, where he steered the event to global recognition and spearheaded innovative initiatives in digital theatre and artist development. His expertise in balancing large-scale festival logistics with a strong artist-first ethos makes him a formidable choice to lead the Fringe into its next chapter.
The appointment follows growing concerns from performers and venues about the increasing costs of participating in the Fringe, which has long been seen as both a launchpad for new talent and a financial gamble for emerging artists. Many hope that Lankester’s leadership will bring much-needed structural reform to ease financial pressures on performers while preserving the festival’s independent spirit and reputation for creative risk-taking.
Speaking on his appointment, Lankester expressed both enthusiasm and a clear vision for the future of the festival. “The Fringe is a global beacon for artistic freedom and experimentation,” he said. “It’s a privilege to step into this role and work alongside the incredible community of artists, venues, and audiences that make this festival so unique.”
His leadership will be tested immediately as preparations ramp up for the 2025 edition of the festival, with industry insiders watching closely to see how he tackles key issues such as affordability, sustainability, and accessibility. With his track record of championing artists and expanding audience reach, many in the comedy and theatre worlds are optimistic that Lankester’s appointment marks a new era for the Edinburgh Fringe—one that preserves its anarchic heart while ensuring a more sustainable future for performers and producers alike.
For comedians, in particular, this could be a turning point. The Fringe remains one of the most prestigious yet financially precarious festivals for stand-ups, with sky-high venue costs and accommodation shortages making participation a costly gamble. If Lankester can introduce reforms to lighten the financial burden while maintaining the festival’s dynamism, he could become a hero to the comedy community.
As the world’s most influential arts festival enters this new chapter, all eyes will be on Lankester to see if he can strike the delicate balance between artistic freedom, financial sustainability, and cultural relevance. If he succeeds, the Edinburgh Fringe may not only survive but thrive in an increasingly competitive global festival scene.