“The fringe grew up to provide space for new and experimental forms of work; theatre that could not be staged under the nose of the Lord Chamberlain; theatre that challenged the status quo; theatre that asked unpalatable questions of society; theatre that made aesthetic choices that outraged audiences – disquieting theatre; disruptive theatre.” Today, “the fringe now often seems to be less forward-looking in terms of staging and material than the Lyttleton or the Gielgud.”