With Brighton seemingly awash with stand-up comedians debuting shows ahead of their Edinburgh appearances, it’s refreshing to see a run of Edinburgh previews that encompass a more theatrical slant.

“It was something we started last year. As a company, the worst thing you want to do is turn up in Edinburgh on day one still trying to get everything ready,” says Steven Brett, theatre manager of The Nightingale.

“Our Road To Edinburgh programme is great as it gives companies an opportunity to iron out their show’s creases before they get there, allows us to showcase great theatre so people don’t have to go all the way up North, and gives audiences which are going up a head start on their Edinburgh experience.”

For 2011’s programme, The Nightingale has programmed a varied selection of theatrical treats. Steve Hennessy’s Lullabies Of Broadmoor – A Broadmoor Quartet offers up four tragicomic Gothic tales of murder, madness and love; Prodigal Theatre’s Caruso And The Monkey House Trial tells the headline-grabbing true story of the titular tenor’s alleged tryst in Central Park Zoo; and Tomboy Blues – The Theory Of Disappointment takes a look at modern life and love.

“All the plays are completely different – Caruso comes from that Prodigal Theatre fold of physical theatre based on Eastern European techniques. Think Grotowski and the like…” explains Brett.

“Steve’s piece is very much an example of new writing, while Rachel Mars’ and nat tarrab’s Tomboy Blues covers sexual politics as well as a personal story – it’s a contemporary piece and is very autobiographical.”

By organising the run of shows, Brett and the theatre’s creative team aim to not only continue The Nightingale’s remit of offering audiences innovative and unique works, but also develop visiting artists’ profiles locally, giving their shows a longevity outside of the Fringe scene.

“We have struggled, for artists from out of town, with getting the message out as to who they are and what they do. In these tougher financial times people are more likely to pay and see a mate perform than take a risk on something they might not know anything about,” he explains.

“For example, the Tomboy Blues are people we want to work with in the future, so they come and stay here and immerse themselves amongst artists in the area. This develops an audience of their own. The Nightingale, from my perspective, is all about contexts – how you could take someone out of their normal creative environment and put them in some other place.

“Not only does the environment have an effect on what they do, so do the people.”

This development extends from acts to venues too – something that comes in handy when Brett and Nightingale producer Kate Gowar are looking for shows to programme.

“It would be impossible for Kate and I to see everything. By developing relationships with other venues we trust, we can work in a reciprocal manner. Lullabies Of Broadmoor we heard about from other people at London’s Finborough Theatre; we’re looking to work with them more in the future,” Brett says.

“I think all venues can pool resources – not money – in terms of space and development time. We’re flabbergasted at how much work it is to run a tiny little collection of spaces.”

For many, the road to Edinburgh and back again can be a daunting one, leaving shattered dreams and battered bank balances in its wake.

With so many potential pitfalls for performers to navigate, Brett is clear as to what it is about the festival that holds such allure.

“Opportunity is huge in Edinburgh. I think in official parlance it is called critical mass.

"I used to work for the British Council who organise a showcase every two years. Just that brings a whole new raft of possibilities for people, as there are 380 international delegates all loitering around Edinburgh,” he says.

“When we scout up there, we’re one of hundreds of UK venues doing exactly the same.”

Obviously, it’s not just aspiring actors and theatrical companies battling it out for stage glory and that elusive five-star review. Last year, comedy shows made up 35% of the entire Festival programme (compared with theatre’s 29%).

“Edinburgh won’t ever lose its theatrical side. People will dedicate their time to comedy but as long as there is still the possibility they will filter out into the other disciplines, that’s important,” say Brett.

“What’s synonymous with going to see comedy is having a good drink and a laugh. Once people understand that they can take their drink into the theatre too, then they’ll learn to try new things.”

*Various times, tickets from £6, call Brown Paper 24/7 on 0800 411 8881 or visit www.nightingaletheatre.co.uk