Introduction
Best in Class returns to the Edinburgh Fringe in 2026 as one of the festival’s most vital and talked‑about platforms for working‑class comedians. Founded by Sian Davies after confronting the financial and social barriers that routinely shut out performers from less privileged backgrounds, the project has grown from a single crowdfunded showcase into a movement that trains, supports, and champions working‑class talent across the UK. Their Fringe shows have become a daily sell‑out phenomenon, celebrated for bringing fresh voices to a festival still dominated by middle‑ and upper‑class acts . With award‑winning momentum behind them — including the Edinburgh Comedy Awards Panel Prize and multiple grants supporting their work — Best in Class arrives at Fringe 2026 with a renewed mission: to platform performers who deserve to be heard and to challenge the systemic inequalities that shape the comedy industry
The biggest barrier is still financial, but two other huge factors are contacts and knowledge.Many working-class comedians simply don’t have the same networks as people who grew up around the arts. They might not know the right people to ask for advice, where to find opportunities, or even what opportunities exist in the first place.A lot of that knowledge gets passed around informally, so if you’re not already in those circles it can be much harder to access. That’s one of the things Best in Class tries to help with. We want our acts to experience the Fringe, build connections, gain confidence and learn how the industry works, so they can take those opportunities forward into the rest of their careers.
We’re always incredibly grateful for every donation, whatever the size.One of the most encouraging things this year has been seeing support from some really well-known and established comedians. It’s lovely to know that people who are further along in their careers believe in what we’re doing and want to help the next generation of working-class talent.More broadly, it’s been really heartening to see support come from all sorts of places. Every year we’re reminded that there are lots of people across the comedy industry and beyond who genuinely want to help make opportunities more accessible.
It’s hard to choose one particular moment, because we’re lucky enough to see lots of small (and occasionally very big!) wins.Whether it’s spotting one of our alumni on TV, hearing them on the radio, seeing them tour a full show, or watching them get opportunities they might not otherwise have had, those moments are always a real source of pride.
For us, that’s what Best in Class is all about: helping talented working-class comedians take the next step in their careers and showing just how much incredible talent is out there.
4. Class on stage — How do you navigate the line between representing working‑class life and being expected to perform it for a largely middle‑class festival audience?
As comedians, we’re used to sharing our lives on stage. That can feel quite vulnerable for anyone, regardless of their background.
The brilliant thing about comedy is that audiences connect with honesty. While our acts bring their own experiences and perspectives to the stage, they’re not there to represent an entire class or community. They’re there to tell funny, personal stories.
What we’ve found is that great comedy resonates with audiences from all backgrounds. The specifics of a story might be different, but the emotions and experiences behind it are often surprisingly universal.
5. The 2026 line‑up — This year’s acts range from vaudeville chaos to dark self‑deprecation to political storytelling. What unites this line‑up beyond class background?
This year’s line-up all share values that really align with Best in Class: a strong work ethic, a willingness to support one another, and the determination to pursue their goals despite the barriers they may face.
We’re also passionate about building a sense of community. Best in Class has never just been about putting on a show; it’s about creating a network where comedians can learn from each other, champion each other and grow together.
This year’s cohort is a fantastic example of that spirit, and we’re incredibly proud to be working with them.
6. Comedy industry inequality — If you could change one structural thing about the UK comedy industry tomorrow to make it fairer, what would it be?
It’s a big one, but fees.
We all understand that rising costs affect everyone, from venues and promoters to audiences and performers. But comedy simply wouldn’t exist without comedians, and performance fees haven’t increased at the same rate as many other costs.
If we could change one thing, we’d love to see comedians paid more fairly for their work. Even small things like travel expenses can make a huge difference, particularly for newer acts who are often paying significant costs upfront just to get on stage and build their careers.
7. Fringe economics — The Fringe loves to market itself as “the world’s biggest open‑access arts festival”. From your perspective, how true is that slogan in 2026?
The Edinburgh Fringe is still one of the most exciting and accessible arts festivals in the world in many ways, but it’s becoming increasingly difficult for people without financial backing to take part.
Like much of the arts sector, rising costs have had a significant impact, and those challenges are often felt most acutely by people from working-class backgrounds.
We’d love to see more meaningful conversations about how performers can access the festival if they don’t have a financial safety net. The more people who are able to take part, the richer and more representative the Fringe becomes.
8. Bursaries and impact — Your bursaries now help working‑class comedians bring full shows to the Fringe. What’s the most powerful transformation you’ve seen from someone who received support?
One of the most rewarding things we see is a real increase in confidence.
For many of our acts, performing at the Edinburgh Fringe is something they’ve never imagined would be possible. Once they’re there, meeting other artists, performing their work and seeing audience reactions, they begin to realise that they absolutely deserve to be part of it.
That shift in mindset can be incredibly powerful. We regularly hear from alumni about how much the experience helped their confidence, opened new opportunities and encouraged them to aim higher in their careers.
9. Comedy and identity — Several acts this year talk openly about disability, neurodivergence, sexuality, or cultural heritage. How do you create a space where those stories can be told without being commodified?
We don’t ask people to talk about any particular aspect of their identity. The comedians we work with are selected because they’re talented, funny and have something interesting to say.
If an act wants to talk about disability, neurodivergence, sexuality, cultural heritage or any other part of their life, that’s entirely their choice. We want people to feel able to tell the stories that matter to them, in whatever way feels authentic.
Ultimately, our role is to create a supportive environment where comedians can be themselves. We trust our acts to decide what they want to share with audiences and how they want to share it.
10. Future of Best in Class — If Best in Class had unlimited funding and zero constraints, what’s the radical version of the project you’d build next?
If funding and resources were no object, we’d love to support more working-class comedians at every stage of their careers.
That could mean more bursaries, more training and mentoring opportunities, regional showcases across the UK, industry networking events, and year-round development programmes rather than focusing primarily on the Edinburgh Fringe.
Ultimately, we’d love to build a sustainable pipeline of support, helping talented comedians access opportunities, develop their skills and progress their careers, regardless of their financial background or where they live.
