October! As you may have heard as a part of our FringeNYC 20/20 Announcement, starting in 2018, FringeNYC will take place annually in October!
As those of you who’ve been keeping up with this blog know, we’ve had a lot of discussions about WHEN. Suffice to say, every possible month on the calendar has some challenges. But here is our list of bottom line Pros and Cons that led to this decision:
There are no other NYC multi-arts festivals in NYC in October
There are no other US Association of Fringe Festivals festivals in October
There are no other World Fringe Alliance festivals in the majority of October (Cape Town Fringe ends in early October)
So World Fringe Alliance festival leaders could attend FringeNYC, as could their artists
We think this date shift will help cement us as the National Fringe Festival beginning in 2019
College students will be back in the city for college
October is not when the US Association of Fringe Festivals usually meets
IT’S NOT AS HOT as the summer (Air conditioning challenges utilize too much of our resources)
With students in school, we could partner with a university (or two) for internships, etc.
We could potentially share resources / collaborate with other summer festivals
Being in October makes FringeNYC like “Indie Theatre” Week (or 3 weeks) (following on the heels of Broadway Week and Off-Broadway Week)
It helps us focus attention on local indie venues and producers during their season, featuring their work
It could radically change our FringeJR & FringeHIGH programs as we are able to coord. w/schools, etc.
CONS (or what we prefer to call “challenges”)
It IS the middle of regular season programming, so our venue partners will need incentives (we have some ideas)
College students will be back in the city for college – this is both a pro and a con – will NEED to partner with a university for interns
October is when Hurricane Sandy happened (August is when Irene and the Earthquake happened, though, so. . . )
Jewish Holidays fall during October, which will make attendance on some nights difficult for some (the same is true for Sabbath performances throughout the year, though).
So – on to meeting these challenges and finding a WHERE to go with our WHEN!
What do you think? Are there other pros and cons we may have overlooked?
LET’S MAKE A FRINGE! – Don’t forget to subscribe to this blog, and sign up for our NEW emailed newsletters here.
Here is a calendar that shows the fringe festivals in the United States, the World Fringe Alliance festivals, and SOME of the performing arts festivals in NYC!
Here’s some fringe fans showing us how it’s done – and reminding us of WHY fans come all the way from Arkansas! Thanks, Carl & Jackie!
This is a movement! We’re so happy to celebrate World Fringe Day with our fellow fringes across the globe. The FIRST fringe – Edinburgh Festival Fringe – is celebrating their 70th birthday as we celebrate our 20th! And in Canada, the CAFF (Canadian Association of Fringe Festivals) festivals are essentially Canada’s national theatre.
But fear not – there is a strong fringe movement in this country, too. Above is a chart tracking the number of US Association of Fringe Festival member fringes born in each year in the U.S. – and here they are by name!
In celebration of World Fringe Day – tell us what you love about FringeNYC, or any other fringe! YOU may win a pair of tickets to
FringeNYC 20/20 – Sunday, August 20th
celebrating FringeNYC’s first twenty years, and announcing FringeNYC’s future.
Just click the button below to make your video. You’ll have to enter your name / email.
#WorldFringeDay #Fringe70 #FringeNYC20
Tomorrow is World Fringe Day! To get ready, here’s a video from World Fringe Congress last November, with Holly from World Fringe Network, Shona from Edinburgh Festival Fringe, Kerri from Sydney Fringe, Davide from Roma Fringe, Christina from San Francisco Fringe and Me (from FringeNYC) talking about Fringe models!
Here’s a chart showing total expenses divided by number of shows in order to determine what FringeNYC spends on each show in any given year (as an adjudicated festival in our first twenty years).
We are working with data from 2004 to 2016
The relationship between the number of shows and our expenses doesn’t always directly correlate, but a definite pattern can be seen from 2009 to 2013, as the number of shows drop our expenses are also lower
It appears our most “cost effective” years are those with the highest numbers of shows (as our model is a bulk model), the best examples of this are 2006, 2008 and 2014.
It is interesting to note that expenses doubled from 2004 to 2009, which is a significant increase in a 5 year span, however the number of shows presented only increased by around 5%
The major rises in expenses from 2004 to 2005 and from 2008 to 2009 do NOT correlate to the number of shows presented, as in those years the number of shows presented lowered, meaning outside factors led to these increases.
Average venue expenses doubled between 2005 and 2007. The first rise appears to be related to the mass increase in shows presented, 31 more from 2005 to 2006, however venue expenses didn’t lower again when presented shows dropped back to 186 from 211 in 2007, in fact venue expenses continued to rise.
In 2012 along with the drop in overall expenses, average venue costs also dropped by 20% and essentially stayed in this lower portion over the next 5 years.
It is clear that what while we do spend more on shows now than we did in the last decade we are currently not spending the most in our history. The overall rise is about $1800 from 2004 to 2016 per show. The data illustrates that our peak spending on shows, and understandably also on venues and tech expenses, is the period of 2009-2011. It is evident that a clear effort was made administratively to lower expenses from 2012 on, where expenses dropped by over 200k while trying to present the same number of productions. There is particularly a noticeable decrease in tech expenses year by year since 2011 with the last four being the lowest on record. Average venue costs as well have dropped to their lowest numbers since prior to 2007. This shows a deliberate effort to return the cost per show to those of earlier years, before the spike of 2009-2011. For further analysis an assessment of why expenses nearly doubled in the 5 year span of 2004 to 2009 should help clarify these results. But in conclusion we can assert that what we spend on each show has risen over the years but after administrative influence and costs cutting in 2012 onward, as illustrated by reductions in venue expenses and tech expenses among others, what we spend on each show is now lower than it was 6 years ago. . . but at what cost? Next we need to look into staff size / expenses, etc. in these same years and consider the expenses associated with applying for government grants vs. the best possible outcome (funding which covers our presenting three or four shows at FringeNYC).
Topic: The Open Access / Edinburgh / BYOV Model. Would it work in NYC? If so, how? How does participating in an open access festival differ from an adjudicated festival where the venue / staff are provided? Have you participated in an Open Access festival? Please join us, we need to hear from you! CLICK HERE FOR CONVENING INFO
Topic: How can work that is devised over a longer period of time, or site-specific work (creatd for a particular location) work in a festival? In NYC? Do you make devised work? Or create site-specific performances? Please join us, we need to hear from you! CLICK HERE FOR CONVENING INFO
Blank Canvas Blog
Celebrating FringeNYC’s 20th Anniversary and building our future!