Elizabeth and Raleigh at the Underbelly Cowbarn with Simon Munnery and Miles Jupp. Photograph: Murdo Macleod

For the 20-odd years I've been going to Edinburgh in August, the nay­sayers have been predicting the festivals' imminent ­demise. (There are at least three of them: the international festival, the Fringe, the Free Fringe.) Their critics say they are too big, too baggy, too highbrow, too lowbrow; that the ­international festival (EIF) can't ­afford the best of the best; that the Fringe has been overrun by comedians and exhibitionists. Add to that the ­recession, and last year's ­fiasco on the Fringe – a chaotic new ticketing system – and many thought that 2009 would be the year Edinburgh went pop.

Well, there's no sign of catastrophe. Neither the Fringe nor the EIF would still be in existence if they hadn't proved their ability to adapt to ­changing ­circumstances. Certainly, Edinburgh faces challenges to its ­cultural status from other cities: the Manchester international festival is securing exciting new commissions, while programmes such as Bite at London's Barbican offer a wide range of inter­national work. The EIF has had to up its game.

In his third year of programming. EIF's director, Jonathan Mills, continues to remind us just how dusty things had become under his predecessor, Sir Brian McMaster. This year's programme is an invigorating one, loosely linked to the Scottish Enlightenment and the theme of homecoming. Mills, reflecting the trend towards cross-fertilisation, has programmed work that encourages audiences to look beyond their ­preferred art forms.

As for the Fringe, it seems to be defying the recession: now in its 63rd year, it is still expanding, albeit by the tiniest of margins (there are 10 more shows this year than last). On the Fringe, of course, bigger doesn't always mean better: an ever-expanding festival must also find an ever-expanding ­audience, which could be tricky in the current climate.

Still, I think this year's ­programme shows signs of real quality. The Traverse theatre is mixing new work with proven hits, including Simon Stephens's Sea Wall, David Greig's Mid­summer and Judith ­Thompson's acclaimed triptych, Palace of the End. We also have the British Council's ­biannual showcase of the best of UK ­theatre, including companies such as Subject to Change, Cartoon de Salvo, Uninvited Guests and Sound & Fury. (This takes place over the final week of the Fringe, so if you are only going for a short time, it makes sense to go then – by which time the EIF will also be in full swing.) The Scottish Arts Council is doing something similar, funding ­Scottish artists such as Grid Iron, The Arches, Nic Green and David Leddy.

Of course, audiences may decide that costs are too great this year, and stay away. But so far, the signs are good: ticket sales for the EIF are close to last year's figures (it's too soon to say for the Fringe, whose programme was only announced last week). Meanwhile, the Free Fringe continues to grow, offering 465 free performances; Forest Fringe, a free mini-festival, is expanding, too.

One thing is for certain: Edinburgh 2009 will be a unique experience, as it always is – quite unlike any festival that came before it, and any yet to come.

Source: The Guardian, 17th June, 2009