The death of the Fringe?

In today's G2, Michael Billington argues that for the first time in years, the Edinburgh International Festival will regain the moral high-ground, replacing its younger, cooler friend, the Fringe, in the media spotlight. A stimulating programme of events, including Monteverdi's L'Orfeo and David Greig's new version of The Bacchae with Alan Cumming, "looks set to overturn the popular notion of Edinburgh as the Festival with the Fringe on top", he writes. It's a mighty statement to make, considering the reach and reputation of the Fringe, but Billington's argument is persuasive. As he asks: what is the International Festival really for? A lot has changed since its inception in 1947; in today's cultural climate, the EIF must accommodate international competition, a growing and more diverse audience, and reversed notions of what counts as elitist or popular art. Billington certainly thinks new director Jonathan Mills is up to the challenge. But must his makeover also mark the death of the Fringe?