The first few days of the Edinburgh Festival always feel a little like a vast marathon start at which all the fun-runners have set off already, leaving the “elite” athletes of the official Festival waiting politely for the gun of the opening concert. It usually manages to make a strong and often agenda-setting statement, but there’s no escaping the fact that many Fringe acts are already into their second week, amid the familiar hustle for a finite audience, reprintable reviews and, ideally, a spot of controversy. Originally the less-well-behaved younger cousin of the International Festival, the Fringe is now impossibly huge and sprawling, and with “shock value” somewhat discounted these days, it takes imagination and quality to be noticed. In Capitalism, Liam